AHMED MOSTAFA SHAYKHON WITH ENGINEERING FOREX

robots more accurecy more precise ) CLASSIFICATION OF ROBOTS AND THIER GEOMETRIES )

2008-02-14T15:58:00.001+02:00

Definition of a Robot

According to The Robot Institute of America (1979) : "A reprogrammable, multifunctional manipulator designed to move materials, parts, tools, or specialized devices through various programmed motions for the performance of a variety of tasks."
According to the Webster dictionary: "An automatic device that performs functions normally ascribed to humans or a machine in the form of a human (Webster, 1993)."

II. History of Real-World Robots:

One of the first robots was the clepsydra or water clock, which was made in 250 B.C. It was created by Ctesibius of Alexandria, a Greek physicist and inventor. The earliest remote control vehicles were built by Nikola Tesla in the 1890's. Tesla is best known as the inventor of AC electric power, radio (before Marconi), induction motors, Tesla coils, and other electrical devices. Other early robots (1940's - 50's) were Grey Walter's "Elsie the tortoise" ("Machina speculatrix") and the Johns Hopkins "beast." "Shakey" was a small unstable box on wheels that used memory and logical reasoning to solve problems and navigate in its environment. It was developed by the Stanford Research Institute (SRI) in Palo Alto, California in the 1960s. The General Electric Walking Truck was a large (3,000 pounds) four legged robot that could walk up to four miles a hour. The walking truck was the first legged vehicle with a computer-brain, developed by Ralph Moser at General Electric Corp. in the 1960s. The first modern industrial robots were probably the "Unimates", created by George Devol and Joe Engleberger in the 1950's and 60's. Engleberger started the first robotics company, called "Unimation", and has been called the "father of robotics."

III. Modern uses of Robots:

1) for EXPLORATION

People are interested in places that are sometimes full of danger, like outer space, or the deep ocean. But when they can not go there themselves, they make robots that can go there. The robots are able to carry cameras and other instruments so that they can collect information and send it back to their human operators.

The "Odyssey IIb" submersible robot is shown suspended in a tank. It was developed by research scientists at M.I.T. for ocean exploration. The inset shows the "Sojourner" microrover robot being repaired at the Jet Propulsion Labs. Sojourner landed on the surface of Mars on July 4, 1998 (from National Geographic, July 1997).

2) for INDUSTRY

When doing a job, robots can do many things faster than humans. Robots do not need to be paid, eat, drink, or go to the bathroom like people. They can do repetative work that is absolutely boring to people and they will not stop, slow down, or fall to sleep like a human.

"Industrial robots spot weld automobile bodies on an assembly line" (from National Geographic, July 1997).

3) for MEDICINE

Sometimes when operating, doctors have to use a robot instead. A human would not be able to make a hole exactly one 100th of a inch wide and long. When making medicines, robots can do the job much faster and more accurately than a human can. Also, a robot can be more delicate than a human.

"ROBODOC", a modified industrial robot, drills a precise hole in the femur (thigh bone) of this skeleton (from National Geographic, July 1997).

Some doctors and engineers are also developing prosthetic (bionic) limbs that use robotic mechanisms. Dr. David Gow, of the Prosthetics Research and Development Team at Princess Margaret Rose Orthopaedic Hospital, made the first bionic arm called the Edinburgh Modular Arm System (EMAS) in 1998. See also the news article from BBC NEWS ONLINE and the bionic arm web page of the Princess Margaret Rose Orthopaedic Hospital.

Campbell Aird, Scottish hotel owner, fitted with the world's first bionic arm (images from The Irish Times web site).

4) for the MILITARY and POLICE

Police need certain types of robots for bomb-disposal and for bringing video cameras and microphones into dangerous areas, where a human policeman might get hurt or killed. The military also uses robots for (1) locating and destroying mines on land and in water, (2) entering enemy bases to gather information, and (3) spying on enemy troops.

5) for ENTERTAINMENT

At first, robots where just for entertainment, but as better technology became available, real robots were created. Many robots are still seen on T.V. (Star Trek - The Next Generation) and in the movies (The Day the Earth Stood Still, Forbidden Planet, Lost in Space, Blade Runner, Star Wars). These imaginary robots do alot of things that the real ones can not do. Some robots in movies are made to attack people, but in real life they cannot really hurt people at all because they are not in control of themselves. Robots also attack humans in video and computer games. So don't think all robots do is kill, because they can't.

A Robot Controller Using Learning by Imitation

2008-02-14T13:38:00.009+02:00

Abstract.

Roboticists have already invested considerable energy in building robot controllers which model the learning capacities of single animals In this paper we present a new type of controller which draws upon insight from he eld of imitative learning one agent learns from perceiving and imitating the behaviour of another We describe the architecture of an imitative learning controller and two implementations a simulator and a robot The learner robot follows a teacher robot through a maze and learns to associate its perceptions at locations where the teacher carries out a signicant action with the action it subsequently undertakes as a result of its innate teacher following behaviour Such a controller limits the learning task to bouts of learning when there is something useful to be learnt It allows a robot to learn in terms of its own perceptions makes programming many nominally identical robots simpler and opens the possibilities for cross modal learning.

INTRODUCTION.

Roboticists have invested considerable eort in implementing biologically inspired control mechanisms in robots They have made progress in the design of reex behaviour for robots and have started to make inroads into the eld of robot learning for example by programming robots to form associative maps of their environment or to learn from reinforcement received from the environment for successful behaviour In this paper we present a controller which utilises a new type of learning imitative learning whereby one robot learns how to act by perceiving and in some sense imitating the actions of another robot Once it has learned it is able to negotiate new situations on its own Imitative learning is a term taken from ethology which ethologists use to describe a huge range of behaviour in animals Indeed there is substantial disagreement among ethologists as to what exactly constitutes imitation in animals since the term is used to describe phenomena as disparate as vocal mimicry in birds the tendency of chicks to eat more when in the company of conspecics and faster learning of tasks by rats or kittens who are able to observe ateacher The mechanisms postulated by ethologists to underlie these phenomena are correspondingly disparate Zajoncsuggests that the mere presence of conspecics may make it more likely thatan animal carry out a particular behaviour on the other hand it may benecessary for the conspecics also to be undertaking the same behaviour for facilitation to occur Simple fear reduction in the presence of others may be taking place so that innate behaviours are disinhibited rather than being positively activated These mechanisms could explain such social facilitation behaviour as the tendency of chicks to peck at food more when others are around Thorpe suggests that contagious behaviour may result if the sight of one animal performing some innate behaviour is the stimulus which triggers this behaviour in another as in for example yawning in humans or ock manoeuvres in birds On the other hand Humphrey suggests that classical conditioning could be involved if some stimulus always releases the same behaviour in a group of animals then that behaviour in one animal is the conditioned stimulus for the same behaviour in another Yet more mechanisms are postulated to underlie other sorts of imitative behaviour In general the specications of these mechanisms given in ethological descriptions are not sucient or not in the right form to be directly implementable as a robot controller However such a controller would clearly make robot programming easier Even robots which are nominally identical cannot be made to behave robustly by the simple expedient of copying a program from one to the next no two robots are identical and no two sensors the same We therefore adopt the following strategy. First we allow a very general denition of imitation as being a phenomenon which leads to some sort of similarity in behavior among two or more individuals We then pick a mechanism put forward as a possible explanation of one type of imitative learning matched dependent behaviour and design and build a robot control system based on this Our main aim is the construction of a robot controller that is robust and versatile so that our system and the expressed behaviour of the robot may well not be completely faithful to the ethological case Finally our experiences with this system may allow us in the future to further our second aim the elucidation of the ethological mechanisms which are hypothesised to underlie particular types of imitative learning.

Matched Dependent Behaviour.

We take matched dependent behaviour to refer to the phenomenon whereby for example rats negotiating a maze receive reinforcement faster if they match their behaviour to that of a leader rat the leader knows how to nd the food and then learn to associate the other stimuli in the environment at the time presumably .
those which stimulated the leader to do the right thing in the rst place with the appropriate action They are then able to carry out that action in the absence of the leader In our system we concentrate particularly on the second stage of this process A teacher robot negotiates its environment a learner robot follows and watches for signicant events in the behaviour of the teacher The learner matches its behaviour to the teachers and learns to associate the stimuli in the environment at the points at which the teacher performs signicant actions with the behaviour it subsequently carries out by virtue of imitating the teacher Currently no reinforcement is obtained by either the teacher or the learner The teacher is able to negotiate its environment without reward this behaviour being simply programmed in and the learner has no choice but to follow the teacher Since our initial aim is to build a useful robot controller omission of the generally slow computationally expensive reinforcement learning stage is permissible it should of course be included if we intend to provide an explanation of the biological phenomenon In robotic imitative learning perception is clearly crucial The learner robot must be able to perceive what the teacher robot is doing and to respond preferentially to the relevant stimuli in its environment Perception is usually dicult there is the conceptual problem of deciding just which stimuli are the relevant ones and there are often the practical problems of accommodating on board the robot the large amounts of computational power needed for example if complete video images need to be processed to a high level of abstraction and of getting this processing done in real time Whilst not denying these diculties we contend that useful imitative learning can be carried out using simpler detectors such as infrared distance sensors and simple patterns of movement such as straight line locomotion and deviation therefrom and we have chosen to use these in the rst stage of our investigation of the architecture of a complete controller We have opted initially to have the teacher robot travel through a maze negotiating corners when it reaches them with the learner following a certain distance behind The learner notices when the teacher Changes its direction of travel a signicant event in order to negotiate a corner The learner then associates what it perceives in the environment around it with the action the teacher has carried out and imitates that action Eventually the learner is able to make use of these associations to respond to corners correctly on its own Our choice of experimental testbed was governed by the need to be able to evaluate whether the robot had actually learned anything By choosing to teach a robot to navigate a maze and then testing its learning by asking it to negotiate either the same or a new dierentaze we have ademonstration that learning has taken place.

Architecture.

In this section we describe the general architecture which governs our realisation of the matched dependent behaviour mechanism The framework is very general although we have described it as it is used in maze negotiation Each module requires dificult aspects to be addressed there will be many possible solutions often research problems in their own right We go on to describe two implementations of the architecture in simulation and on autonomous mobile robots and present our rst results The architecture comprises ve modules which we describe in turn Maze negotiation The teachers maze negotiation behaviour is implemented in the rst module It must allow the teacher to respond appropriately to situations such as confronting a wall right and left corners Tjunctions and so on Its implementation could take a very simple form such asdead reckoning or one could use sensors and a negotiation strategy A reinforcement learning module could be useful although taking many trials to learn it would be expected to be insensitive to sensor noise and small variations in the environment Alternatively the robot could be led through the maze several times by a human and learn using the fast Halperin net which takes advantage of designer knowledge of the task and so does not need to learn the environment and task from scratch In the general case this module would be responsible for producing whatever behaviour the teacher is teaching there is no limit to the number of dierent instantiations and complexity of the module Teacher following In this module which is independent of the maze negotiation module the learner robot is programmed to follow the teacher In the simplest implementation the learner keeps axed distance behind the teacher regardless of the teachers motion more sophisticated implementations could have the learner follow only when the teacher is moving purposively and ignore loitering In both cases the learner must be able to detect the teacher and its distance from the teacher and have strategies to deal with the situation when the teacher moves out of sight In the general case this module is responsible for making the learner imitate the behaviour of the teacher When the teachers behaviour can be described as bulk motion the implementation of the module is quite straightforward however how the learner might imitate the teachers behaviour in say a manipulation task involving arm movements is less clear The learner would then need some understanding of what the teacher is doing from the teachers point of view in order to be able to match its behaviour to the teachers In the case of simple motion it is much easier to insulate what the learner knows from what the teacher knows with the sole means of communication between the two being the perception by the learner of the teachers behaviour SignIcant event perception The learner robot recognises when the teacher robot is performing an action it deems signicant and remembers the place at which that action is being performed Ways of recognising that an action is signicant include detecting a change in direction of movement or detecting a change in the direction in which the teacher is pointing the teacher could also signify it is about to undertake a signicant action by emitting a sound watch me This module allows the learner to recognise that one of the actions it is about to do we assume that the learners behaviour time lags the teachers is to be distinguished from the rest from this point onwards the learner must be ready to learn Thus the learner engages in short bouts of learning which coincide with those periods in which there is something useful to be learnt it does not have to process a continuous stream of perceptions and associate them with a continuous sequence of actions By directing the learners attention the complexity of the learning process is reduced Association environment perception The learner robot knows from the signicant event perception module the location of and its distance from the signicant event It moves to this location and then perceives its environment This is the stimulus with which an appropriate action is to be associated The implementation depends very much on the sensing capabilities of the learner which could vary from simple binary distance detectors to general purpose vision systems In most cases one would expect to use specialised sensors tailored to the environment The learner must be able to discriminate suciently the salient features of its environment but it must also be able to generalise well enough that when it self in a situation which is similar to but not identical with the rst it is still able to carry out the appropriate action Association recognition of own action Finally the robot must associate an action with the stimulus it has just received from the environment this is essentially the imitated action In our systems we make use of the fact that the learner is performing a teacheR following behaviour all the time thus in order to discover the appropriate action the learner simply has to move a few steps further in its path behind the teacher and keep note of what exactly it does and it will automatically have carried out the correct action The sequence of learner movements just before and just after the signicant event is the action that is associated with the perception The implementation of this module could vary widely and there is also room for variation in the design of the action recognition itself The form of the association itself can be simple or complex from a set of if then rules to a connectionist network We are currently using rules although further connectionist developments are envisaged once the amount of information provided by the sensors is large enough The complexity required depends in large part on the variability in the environment the noise in the sensors the precision with which the learner can measure its own actions and the degree to which a robots behaviour can be characterised as a sequence of signicant recognisable events.

Results from Simulation.

We have implemented this architecture on a simulator which was built to allow us to rapidly test the applicability of this and other architectures The current implementation on real robots is described below The implementation of learning on the simulator has two phases Learning phase Robot teacher executes a series of moves which take it through the maze and the robot learner follows the steps of the teacher associating environment congurations with actions followed when something signicant happens Testing phase The robot learner equipped with the rules it acquires from the learning phase is requested to traverse either the same or a new dierent maze on its own During therst phase Figure a series of moves is executed by the robot teacher one of MoveForward MoveLeft MoveRight while the robot learner follows the teacher by maintaining a close distance and changing direction with a suitable time lag whenever the teacher does so The teacher is never allowed out of sight of the learner The orientation of the teacher is detectable by the learner a change in the orientation by degrees of the teacher is the signal for the learner that something signicant has happened The learner waits until it reaches the point of change since it knows how far behind the teacher it is it just has to travel this distance towards the teacher Then it invokes the association procedure This involves sensing of the environment around it ie the conguration of the walls essentially the type of corner it is dealing with and associating that with the appropriate action In order to determine this action the robot waits to see what it des next governed by the instinctive following behaviour It calculates the action as the dierence between the direction in which itwas travelling before it reached the signicant event location and the direction in which it is travelling afterwards In our particular implementation this is either a rotation of degrees clockwise or degrees anticlockwise After the learning phase we can see that these turns are associated with the right and left corners respectively During the second phase Figure the robot learner is placed at the beginning of either the same or a dierent maze and is requested to traverse it without the help of the teacher It constantly senses the environment around it attempting to match the conguration of the walls with those specied as signicant congurations in the left hand side of the rules acquired during the learning phase When a particular conguration matches the operator which is associated with it is applied to the robot causing a change of direction and then the robot continues moving forward again The results so far are encouraging In the simulated implementation the robot learner successfully learns to traverse increasingly complicated mazes An example of the rules acquired is shown in Figure where the default learner behaviour is also shown as a rule The architecture is capable of dealing with simple learning situations Our next step with the simulator will be to increase the complexity of the maze negotiation and teacher following modules and particularly the form of the association modules It is unrealistic to expect to be able to simulate the robots sensing capabilities properly for this we have turned to real robots.

Robot Implementation.

In this section we describe how the imitative learning system is implemented to control the behaviour of two robots A Lego robot of the type used for research and teaching in our Department is used as the robot teacher This is a small carlike vehicle with two motors powered by batteries augmented with abased microprocessor board Brain Brick and various specially built sensing bricks which process the output of infrared light dependent resistor Hall e ect and bump switch sensors One of the Departmental research robots Ben Hope serves as the learner This is an autonomous transputer based mobile robot cylindrical in cross section and about cm high It is equipped with a video camera a bumper and motion detection ultrasonic and infrared sensors it has a radio modem for communication with a host PC if required All processing takes place on board the robots although data can be stored and downloaded to a workstation Our initial implementation has the Lego robot navigating through a maze of wooden boards about cm high Currently we are most interested in experimenting with the learning modules so we have chosen to have the teacher navigate by dead reckoning A smarter strategy will be used when we switch the environment to a more complex corridor and oce area The learner Ben Hope follows using its camera to sense a pointing device mounted on top of the Lego robot This device is a triangular conguration consisting of ve LEDs positioned in a row with another single LED situated about cm from the row The LEDs are visible in a video image from Ben Hopes camera making it a simple matter to detect both the Lego robot itself and the direction in which it is moving The view of the teacher seen by Ben Hope is shown in Figure Ben Hopes camera has quite a wide eld of view so we discard the upper part of the image before thresholding it and applying Haralicks iterated components algorithm see to extract connected labelled areas Figure The positions of the front and back of the teacher robot and the direction in which it is pointing can then be obtained by tting ellipses to the two blobs Given the height above ground of Ben Hopes camera it is simple to calculate the distance to the Lego robot All of the image processing is carried out on Ben Hopes framegrabber TRAM The speed of Ben Hope is then controlled to keep it axed distance behind the teacher robot eectively we are trying to keep the position of the centroid of the teachers pointing device within a small region round the centre of the image The direction in which Ben Hope is travelling can also be adjusted so that it follows the teacher round corners A signicant event is signalled by the orientation of the teacher robots pointing device changing by some threshold amount Maze wall con gurations are detected by the infrared sensors mounted around Ben Hope and the action to be associated with this perception is the degree of turning required to bring the teacher robot back into Ben Hope seld of view As in the simulator the acquired association of perception and action takes the form of simple rules Work is currently being carried out on the integration of the semodules we hope to present the results of the learning experiments at the symposium.

Conclusions and Summary.

We have described the architecture we are using to investigate a new mechanism of robotic learning namely imitative learning and two implementations applied to a maze problem one in simulation and one using robots Results from the simulation are promising the robot system is being integrated The use of this particular architecture has certain advantages Firstly it is not necessary to have the teacher robot learn how to follow the maze before we start we can provide it with an algorithm tried and tested in other experiments Secondly and very importantly the learner robot does not need any understanding of how the teacher perceives the world it learns what to do based on how it perceives the teachers actions the world around it and its own actions it is learning on its own terms This is a very clear indication of how combining perception and action can produce useful behaviourMoreover the independence between teacher and learner means that dierent robots can be used with dierent morphologies and dierent sensory capabilities The robot controller based on imitative learning which we implement is not entirely ethologically faithful However we expect that the insight gained from such experiments will allow us to model ethological mecha nisms in the future We do expect this type of controller to provide us with more versatile robots which learn quickly and which are relatively insensitive to small changes in the environment Moreover programming nominally identical robots will become easier It is not sucient simply to copy a program from one robot to the next no two robots are identical no two sensors the same Having one robot imitate another will obviate this problem Learning by imitation in this fashion also opens the possibilities of cross modal learning arobot which starts work when the sun rises could teach another to start work when it hears the birds singing.

Acknowledgments.

We would like to acknowledge the support of the Department of ArticialIntelligence University of Edin burgh for the provision of computing aboratory and workshop resources Ben Hope was built under SERC grant GRF Thanks are also due to John Hallam Anton Dil and Andrew Fitzgibbon for comments on drafts of this paper and technical advice.

MICHATRONICS DEPARTMENT FIELD

2008-02-14T12:28:00.007+02:00

1.1-Features.

DC servo controlled 6-axis plus gripper
Emulates industrial robot programming techniques
Originally designed for use by the Open University
3 levels of controlling software:
level 1- posture
level 2- XYZ
level 3- linked run
Total reach of 500mm
Open construction, both hardware and software
3D simulation software available
Experiment kit (MA2000a) and project manual available to provide a structured approach to robotics
IBM XT, IBM AT software available (computer not supplied)
Two year warranty
Complies with the latest relevent EU Safety Directives

1.2-Range of Experiments.

The additional experiments kit, MA2000a, comprises gripper jaws, tools and accessories necessary to carry out the experiments outlined in the associated experiment book. The experiment book details a series of experiments to be carried out using the experiments kit. Each experiment
has a clearly defined objective and the series demonstrates the correct program techniques for various industrial applications of robots.

1.3-The experiments include:

Robot safety.

Moving the arm by lead-by-nose and by the keypad .
Continuous path programming, e.g. paint spraying .
Stacking and palletizing.
Use of sensors for component lncation .
Motor current monitoring for sorting by weight.
Simple assembly.
Drilling and de-burring .
Off-line co-ordinate programming.
Dynamic tuning.

2.1-Product Description.

The MA2000 consists of a robot arm, electronic controller interface, teach keypad and user manual. It is suitable for use with the IBM XT/AT or compatible PC (not included).
The robot is a jointed arm, with a reach of 500mm. It has three major axes: waist shoulder and elbow and three minor axes: pitch, yaw and roll. All axes are driven by d.c. motors under full Proportional, Integral and Derivative (PID) control.
The robot is also fitted with a pneumatic gripper to which a variety of jaws and tools can be attached in order to carry out specific tasks or experiments. (A compressed air supply is required to operate the gripper).The MA2000 controller interface controls the arm and is fitted with four input and output ports, for controlling and connecting with other devices. The keypad is used to communicate with the robot system. The commands on the keypad are used to control the robot's position, speed, mode of operation, program storage and retrieval

2.2-The sophisticated software allows the robot to be programmed using the most common methods found in industry.

Level 1- posture
Lead-by-nose, continuous path
drive through (teach keypad), point -to-point
lead-by-nose, point-to-point
Off line from computer keyboard
Level 2 - XYZ
as level 1 plus XYZ co-ordinate programming
Level 3 - linked run
as level 2 but with the facility to link various sequences into one continuous program

2.3-Software Features.

The software enables up to 250 program steps to be taught. During playback of a sequence of program steps, joint-space interpolation is used for movement from each point to the next.
Each step in a sequence has two associated data grids: the command data grid and the position data grid. The command data grid contains: rate of movement, mode of movement, input state expected, output state to set, wait time and step number to jump to, whilst the position data grid gives the posture value that each limb must attain and the state of the gripper (open or closed).
The rate of movement is varied in steps between 1 and 9. The maximum, 9, corresponds to a slew rate on the major axis of 45?sec and on the minor axis of 90?sec

2.4-There is a choice of 11 modes of movement at each step.

The 11 control modes are:

1.CONDITIONAL JUMP - jump to a specified step conditional to input status (MODE 1).
2.MOVE ABSOLUTE - move directly to limb positions set in position data grid or jump unconditionally to a specified step (MODE 2).
3.MOVE RELATIVE - move limbs relative to current position (MODE 3).
4.SEARCH - search a path until specified input is present, otherwise complete path and move to next step (MODE 4).
5.SEARCH AND LEARN - as mode 4 but memorise the position at which the input was received, for use in subsequent steps of the sequence (MODE 5).
6.CONTINUOUS PATH - follow a trajectory, which has been taught using lead-by-nose (MODE
7.USER FUNCTION - branch to the procedure reserved for user defined tasks and carry out the user defined BASIC program (MODES 7 and 8).
8.REPORT - either current positions, powers or protocol errors in a value derived from the analogue to digital conversion (MODE 9).
9.ADAPTIVE TUNING - change the 3 term (PID) feedback control for any specified axis (MODE 99).
10.CHAINING OF SEQUENCES - this is level 3 software and permits taught sequences of up to 250 steps each, to be linked together to run as one continuous sequence (MODE 10).
11.MULTIPLE INPUT/OUTPUT allows more than one input to be read or more than one output to be set on one sequence step. It can only be used with the controller 4 way l/O.

2.5-Supporting Teaching Material.

The robot operating manual gives detailed operating instructions and a demonstration sequence is supplied which is used as a tutorial for basic operation. The MA2000a experiments kit is available to provide a series of assignments for students

3. Specification.

3.1- Robot Mechanis

1.Configuration: A revolute arm with 3 major and 3 wrist axes.
2.Major axes: Waist, shoulder and elbow moving through 270?at maximum slew rate of 45?sec.
3.Wrist axes: Pitch, yaw and roll moving through 180?at maximum slew rate of 90?sec.
4.End effector: Pneumatically powered gripper attached to the roll axis. (A separate air supply is required).
5.End effector speed: 9 programmable speeds. Maximum speed not greater than 400mm/sec for safety considerations.
6.Reach: Nominally 500mm with jaws supplied in experimental kit (MA2000a Mk II).
7.Load capacity: 1kg dead lift at 480mm from waist axis (excludes wrist axis).
8.Drive system: Electric d.c. servo motors under closed loop, 3-term control with direct position feedback on each axis measured to 12 bit resolution.
9.Resolution: Each axis has a teach resolution of 1 part in 1000 over the angular span.
10.Repeatability: Better than +/-2mm.

11.Joint position transducers: Plastic film potentiometers with linearity of ?.25% (main axes only).
12.Sensor supply: Arm pre-wired to accept microswitch or optical sensors at the gripper.

3.2-Controller Interface.

1. Robust 19" standard housing.
2.A to D converter, 12 bit resolution. Microprocessor implementing 3 term control.
3.Manual test facility.
4.Motor drive circuits.
5.Out of limits indication.
6.I/O ports: 4 outputs, each a relay contact pair switching 1A at 24V dc.
7.4 inputs, each operating on connection to earth (ground) potential.
8.Safety: Emergency stop button, "watch dog" timer and window detector circuits.
9.Motor braking relay provides failsafe "set" of major axis movements on interruption of power supply.

3.3-Main Operating Software.

Number of steps: Up to 250 taught steps in point-to-point operation, or one block of continuous path data can be memorised.
Step commands: Position, speed, mode of movement, input and output state, wait time, branch or jump instruction. Modes of movement: (available at each step).
Eleven different modes of control are available:
1. Conditional jump
2.Move absolute
3.Move relative
4.Search
5.Search and learn
6.Continuous path
7.User function
8.Report
9.Adaptive tuning
10.Chaining of sequences
11.Multiple input/output - (allows more than one input to be read or more than one output to be set on the controller 4 way l/O or the expansion l/O interfaces).
Teach Keypad.
20 keys: membrane type with function legends.

3.4 Teaching Methods.

Drive through, using the teach keypad, for point-to-point operation.
Lead-by-nose, for continuous path or point-to-point operation.
Off line by computer: XYZ and joint position.

4.1 Ancillaries.

The following products are available for use with the MA2000 robot system.MA2000a Mkll Experiments Kit. MA2000x Software to allow taught sequences (up to 250 steps each) to be chained together and to allow other programs to share the same host computer. MA9080 "Workspace" 3D robot simulation software for IBM or compatible computer running Windows '95.
Services Required
Single phase electrical supply of 240 V, 50 Hz; or 110 V, 60 Hz is required. Please specify voltage frequency and tolerance on ordering. A clean dry air supply of approximately 3 bar is required to operate the gripper. This may be provided by an air bottle or a suitable compressor.
Noise
The measured sound pressure level of this apparatus is less than 70 dB(A)
Dimensions &Weights
Gross:0.3 m; 50 kg(approx - packed for export)

4.2-Tender Specification .

A dc. servo motor robot with 6 axes of movement and a pneumatic gripper. The system to consist of a robot arm, electronic controller interface with 4 input and 4 output ports.

The arm to have a reach of 500mm and a dead lift capability of 1kg at 480mm from the waist axis (wrist excluded).
The operating software to enable the robot arm to be programmed using: lead-by-nose, continuous path, drive through point-to-point, lead-by-nose point-to-point and off line programming, in both robot joint space and real world XYZ co-ordinates.
Optional 3D simulation software with solid modelling. Supplied with a two year parts and labour warranty. Requires an IBM PC XT or better (not included).

Divorce - How to rebuild your life, color your hair and move on

2008-02-14T01:33:00.001+02:00

Did you know that when you go through a life changing experience you are likely to go to the beauty salon before you do anything? Most women will actually seek a different hair style when something major happens in their life. You will want to quickly seek comfort for your divorce and then you have to stand on your own. You may want to go to the hair salon once you have made the announcement of the split and have faced the situation. Once you have recognized that you are going through a divorce you will need all the people who love you around so that you are able to get all the support that you need to help rebuild your life and move on.
The first step is to know who you can count on and who can't. This is when your real friends became noticeable. You need to have people who care to support your grieving and to help you find ways to move on. Most of your so-called friend will say everything will be fun, don't worry. When someone allows your feelings to be written off like that, they are not your friends at all. You will want to make sure that you understand the difference between real friends and people who claim to be your friend.
Once you have found the support and strength to move on, you will feel the need to make some drastic changes. You may want to change the color of your hair or you may just want to change your wardrobe or encourage a change in behavior. You should try things that you never would have gotten to do with your soon to be ex. You should also think about making changes about your appearance that they wouldn't necessarily encourage from you. You will want to do things like change your hair color, change your style of hair, or get an extreme haircut.
If you have never had short hair, you may want to try it. When you cut or when you dye your hair you will find empowerment. You will feel like you have control over yourself and your life. The truth of the matter is that you do have all the control. You have the right to change and you have the right to do whatever it is that you want or find that makes you happy. Before you allow yourself to fall in depression, you may want to start thinking about what has happen, what has changes, and what you would like to do as a result of.
Obviously, there were many factors that made you and your partner to split, but you don't have to be someone that you aren't. Over the years or course of your marriage, you probably gave up a lot. You most likely changed because they encourages you to become exactly what they wanted, but you are no longer in that relationship and you can begin to do the things that you love once again.
Any woman that can go through a divorce and survive it is a very strong person. Some women will collapse and fall into a deep depression. Go out and do everything for yourself. If you have always wanted to be a blonde, give it a shot. If you have ever wanted to cut your hair, go for it. Once you begin to do things that you normally wouldn't do you will find liberation. You will have liberation from all the chains of marriage. You will have the freedom to be yourself and show your new freedom in anyway that you would like.

2008-02-14T01:32:00.003+02:00

History of Some Christmas Traditions Christians celebrate Christmas to observe the birth of Jesus Christ, which is an event and not a tradition. But many other activities related to celebrating the Christmas season evolved from certain traditions, many of which are from other countries, particularly from peoples in Europe. Among common items used in Christmas decorations are the holly and the mistletoe. Both are used primarily in wreaths and garlands. The Druids started the tradition of using the mistletoe as decorative items up to two hundred years before Christ. To celebrate the winter season, the Druids would gather the plants and use them to decorate their homes. The Druids believed the mistletoe would bring good luck and ward off evil spirits. They also believed that the mistletoe had a healing quality and could be used for everything from healing wounds to increase fertility. In Scandinavia, the mistletoe was seen as a plant of peace and harmony and was associated with Frigga, the goddess of love. This association is probably what led to the custom of kissing under the mistletoe. In the Victorian period, the English also would hang mistletoe from ceilings and in doorways during holidays. The habit developed that if someone was standing under the mistletoe, someone else in the room would kiss that person. Such outright behavior was not generally seen in Victorian society. The use of the mistletoe in Christmas celebrations was once banned by the church however because of its associations with pagan traditions, and the use of holly was suggested as a substitute. Poinsettias are another traditional decorative flower used at Christmas. It is native to Mexico and is named after Joel Poinsett, who was the first U.S ambassador to Mexico and who brought the plants to America in 1828. Mexicans believe the plants were a symbol of the Star of Bethlehem and that's one reason they are associated with Christmas. There's also the story that a young boy was going to see the Nativity Play at a church but realized he didn't have a gift for Baby Jesus. The boy gathered some green branches, which others scoffed at. But as he placed them near the manger, a bright red poinsettia flower started to bloom on each branch, which gave rise to their traditional use at Christmas. Candy canes became a Christmas tradition not because their red and white stripes matched the colors of the season, but for the most unusual reason of discipline. that's because they were first used as treats that were give to German children to keep them well-behaved for the duration of church sermons. Over time, the legend of candy canes at Christmas came to be associated with some of the strongest symbols and beliefs of Christianity: the Father, Son and Holy Ghost known as the Trinity, the Blood of the Son of God, Jesus as the embodiment of holiness, purity and without sin and the Son of God as the shepherd of man. The candy cane represents these symbols respectively with its three stripes, its red and white color and its shape. Sending greeting cards during Christmas and the holidays is as prevalent today as the custom of giving gifts. The tradition of sending Christmas cards started in 1840 in Britain with the start of public postal delivery service of the 'Penny Post.' Then from about 1860, large numbers of Christmas greeting cards started to be produced. The popularity of the cards increased in Britain when they could be sent by the postal service for one half-penny, which was half the price to post a standard letter at the time, if they were in an unsealed envelope. Religious pictures of Mary, Joseph , Baby Jesus, the angels, shepherds and Wise Men were traditionally placed on Christmas cards. Some cards today include scenes from the Nativity, but pictures of Santa Claus, winter scenery, Christmas trees, gift packages and others are also depicted on contemporary Christmas greeting cards.

Choosing Batting Quilt Fibers for Craft How to choose batting fibers

2008-02-14T01:32:00.001+02:00

Quilts include the crib sizes, twin, and full, double fit, queen, and king. The standard crib fit is around 45-inches time’s 60. Twin fits are 72 x 90, full and the double are 81 x 96, queen fits are 90 x 108, and the king fits are around 120 x 120.
To choose your materials you must consider batting quilt fibers. Once you choose your batting make sure that, you unfold the cotton material and let it set a couple of days before you start crafting. The batting will relax and inflate. You want to space your batting closely to avoid bunching also when crafting your quilt. Some materials require pre-washes before you can use the fabric. Read your labels.
You have options in battings, including the traditional, which is often made of cotton and the polyesters. The blends of polyester and cotton will shrink sometimes. To stitch the cotton you will need to create intervals of larger stitches, yet if you combine polyester with your cotton, you can minimize the stitches.
The line of battings, include polyester, silk, wool, etc as well. If you choose the polyester, you can create a non-shrinking quilt with intervals of larger stitches. In addition, you can create intervals of wider expansions, which you can craft your quick at a speedier pace. Polyester is the choice of battings, since crafters can design a quick, machine washable, and non-shrinking quilt. As well, the crafter can design a thinner quilt verses the thicker, since polyester is a batting made of “high loft.”
My favorite is silk, yet if you are creating a traditional style quilt, the silk may not be suitable. You can still make a quilt of silk, yet you will pay top-dollar and spend a length of undesired time to finish your project. In fact, most crafters do not recommend silk for creating quilts.
Wool has migrating fibers, yet you can sew through the material with ease. You will need to space closely when needling. The wool over time will loose its fibers however. Wool will also fuzz. You can use lightweight materials, or cloths to prevent fuzziness, as well as to prevent fiber loss. Wool is not suitable for machine wash; rather you should take your quilt to a professional cleaner, or wash it by hand and allow it to air dry.
Now choose your style: If you want the antique or traditional quilt, you will need to use the “low loft” material. The quilts include the Fairfield, which is 100% bleached cotton, the poly-filled cottons, which is 80 % cotton; the “Mountain Mist/Blue Ribbon Stearns” are 100% cotton as well. You can also choose the 100% polyester, Morning Glory, or the Glory BEE I, which is also 100% polyester. Many other styles and varieties are available.
Once you decide which fibers, or fabrics you want to craft your quilt you can then consider your backing. You can purchase yards of backing. The backing today makes it easy to fill in the length and width of your quilt. Ultimately, if you choose backings that come up short or longer you can stitch a couple of pieces together to even your quilt. Still, you want to make sure that the backings work in harmony with your fabrics, or fibers.
Ultimately, if you want to spend time making a quilt you can choose blocks and patches. The pieces of material were frequently used by grandmas, or women of traditional days. The quilts are often sturdier than the modern quilts, yet you can still craft a strong quilt today.

2008-02-14T01:31:00.008+02:00

Craft Stitching Porcelain Doll Sleeves How to stitch porcelain doll sleeves
Once you have begun making your dress, you want to stitch your porcelain doll sleeves. To get started, affix the lace, meeting it with the edges of the sleeves and crisscross. Press once you finish. Next, gather the dual rows of your stitch and continue about the crown of the sleeve until it fits into the right armhole, coming together, pull the collected fit up, and stitch them collectively whilst keeping your face liberated. Do the same to complete the opposite sleeve.
Starting at the right sleeve joint with the bodice, sew the seams of the underarm from the edges of your sleeve and from side to side seams of the upper region of the dress. Now begin stitching the seams at the side of your bodice so that it faces jointly and moves to face a different direction within, covering the side facing seams. You may need to cut to fit the areas around the seams of the armholes, including the facing holes. Change directions, turning in the hems about the facing armhole, match the shoulders as well as the seams at the side, and then “slip” suture the facing in the region of the armholes, moving in the opposite direction as you stitch. Use the elastic hat and fasten it to the interior region to create the starting legs of your underclothing. You may need to cut to fit, yet add glue before you begin cutting.
Now you have completed your sleeves for your porcelain doll. Once you finish your sleeves, you may want to design and elegant skirt to fit your doll, as well as an apron. To get started with your skirt finish your patterns at the untreated edges, and at the seams of the back using the crisscross stitching method. Next, sew the seams at the back from the dot and to the hems. Line up dual lines and gather your stitches about the crown of your skirt. Fold the back seams and permit to the left side on mutual sides of your seams at the back.
The bodice and front middle of your skirt should come together, as well as the fold lines at the back of the upper region of your dress. Extend to the opening at the back of your skirt and keep the facing bodice liberated. Collect your thread by pulling up and extend to fit the skirt connecting it to the bodice and distributing the collected sections uniformly. Next, trim or shape the seams and fold an upward hem on the facing upper region of your dress so that it corresponds with the seams at the side of your bodice. Use the “slip stitch” method and stitch the seams along the facing so that it connects with the bodice and the skirt.
Now you are ready to dress your doll. As you put the dress on the doll note any areas that may need length added, and mark the seam lines. Finish the dress at the untreated edges of your hem and crisscross. Next, turn the width to needed size and hem while using the slip suture method to fit the skirt. You can make buttonholes next. To start hand sow or machine stitch your buttons after adding glue to the fabric to hold it together. Use a pin to make your buttonholes. Allow the glue to dry and then cut the region, using craft scissors. The buttons or press “000 studs” can be used and sown at the back of your skirt.
You are now ready to create an apron to fit your porcelain doll dress.

2008-02-14T01:31:00.007+02:00

Crafting the Essentials in Scrap Booking How to learn craft terms for scrap booking
Terms are important in life, including when crafting scrapbooks. When you visit craft stores it is great to know a few terms so that the sale clerks will think you are an expert. In addition, having a basic line of terms will help you find your way, rather than getting lost when you hear the clerks talk foreign craft lingo. To get started we can consider acid.
How to understand craft and scrapbook terms: Acid-free products are the key to creating and preserving your scrapbook. You want to request materials that do not have acid-based chemical reactive content. The Ph level should be around seven or even higher, to produce a safe keep scrapbook. The products should not have polyvinyl chlorides; therefore look for PVC-Free materials. Instead, look for materials made of polyester, polyethylene, or polypropylene. Lignin-Free materials will prevent your newspapers, or clippings from yellowing. Lignin is acid based. In addition, you want to learn steps to avoid acidy contents touching your scrapbook. You should wash your hands prior to touching your scrapbook, and request that anyone touching your scrapbook wash their hands beforehand.
Archival is a common term in crafts, since many scrapbooks are made up as archrivals. Archival is the process of protecting your scrapbook from fading, yellowing, or deteriorating. Buffer paper is recommended for crafting scrapbooks. Buffer paper will protect your book from defused acids, and acid migrating from damaging your papers and photos. To find buffer paper suitable for scrapbook crafting, look for paper with the label “Photo Activity Test,” approved or P.A.T., which is approved by ANSI. (American National Standards Institute)
If you plan to glue your photos and news clippings, or other materials in your scrapbook, keep in mind that reversible adhesive is optional. The contents will allow you to remove the photos later and re-locate them in necessary.
“CK OK,” is the “Seal of Approval” that provides you a safe keep in scrap booking. If the materials you purchase do not have this seal, leave it alone.
Scrapbook crafting entails cropping, workshop, page exchange, produce swap, scrapbook club, layout, “Pass the chocolate,” mounting, double mount, heading, embellishment, them, title page, page, and memorabilia.”
How to crop: Cropping can be done with PhotoShop otherwise, you will need scissors. The process requires that you trim the photos to fit your book. Cropping also entails collecting, allocating ideas, and putting the parts in order so that it tells a story. Workshop is the process of working together with other scrap bookers to come up with ideas. You can use PhotoShop to devise a scheme.
Page exchanging is similar to workshop, only you bring a page with you and work with others to share ideas and to craft a page. Product swapping is the process of getting rid of old craft materials, such as scissors, papers, etc, and swapping with your friends to gain new materials. You can create a scrapbook club from here, which swapping can occur and you and your friends can “pass the chocolate.”
How to layout your scrapbook: In your club, you will hear the term layout. The term is used to define page grouping. Page grouping is the process of collecting your pages and inserting them alongside the joined group, using the same theme. You can devise your own theme, such as “My Scrapbook of Memories.”
Once you adhesive your photos on a single sheet of paper you are conducting the process of mounting. Double mount is comparable to Layer Mattes. The process includes adhesive two cuts of paper, sticking them together with the photos resting on top of the papers.
Embellishment is the terms used to define die-cuts, stickers, or related materials that make up a page in your scrapbook. The header is your title page. Title page is the start of making your scrapbook. For instance, “Jane Does Scrapbook.” The theme will define your overall ideas behind your scrapbook. Page is the process of making up non-photographic materials, such as journal, embellishments, etc decorated around your photos. Finally, memorabilia is adding souvenirs, official documents, artwork, or related documents to your scrapbook.

2008-02-14T01:31:00.005+02:00

Finishing the Evening News in Craft How to complete your Afghan in the Evening News
To complete your Afghan you will need to learn steps, such as chain loop stitching, clusters, cross double stitching, cross-batch, and the lines joining angles spike stitching. Of course you will need to learn more about Fantail stitching, knot stitching, popcorn, puff, shell, V stitching, zigzag lozenge stitching, sample square, bordering, assembling, and more to complete your Afghan.
To get your started we can consider chain loop stitching. To chain loop stitch avoid starting your square with the loop stitch. Instead, in row one chain stitch six lines, skip one stitch, and single crochet in the following stitch, throughout, i.e. across, and then turn. In row two chain stitch four rows, double crochet in your following chain, and continue across, finishing with a turn and proceeding to the next row. Now, chain stitch and add a single crochet in your six chain loops and move to chain one throughout until the finish and complete with a double crochet in the initial, i.e. the first chain of your preceding row.
Now you are ready to move onto collecting, or clusters. In the cluster steps, you start with your preceding loop, keeping it on each stitch on your crochet hook. Finish by working one stitch in the following stitches to a favorable level and “Yarn over Yo” throughout the loops on your crochet hook, finishing your stitch with a chain stitch.
How to cross double crochet stitch: Next, you want to learn how to cross double crochet stitch. You will need to start with two multiples, which creates a base of two. Start with three chain stitches; skip one stitch and double crochet in the following stitch. Skip another stitch and repeat across, and to the finish with another double crochet in the final stitch.
Use a 7-multiple to crossbatch, plus four to add three bases to your Afghan. In row, one skip two chain stitches and double crochet two in the following chain, skipping another three chain stitches and single crochet into the following four chain stitches, skip three chains, and single crochet the final chain stitch, and then turn.
The lines joining angles-spike stitching, is known to crochet experts as “Diagonal Spike Stitch.” The experts will use four, plus two multiples to create dual bases. To begin the steps the expert will start in the first row, skipping three chain stitches followed by double crochet in all of the three chain stitches, skipping the following chain, and Yarn over Yo stitch followed by inserting the hook in the matching chain stitch as that of the first, preceding double crochet. Moving along the expert double crochets three groups and Yarn over Yo to pull up the loops. The loops are loose at this time and finished with a stitch, i.e. a double crochet spike stitch and repeats the steps across, and to the finish with a double crochet in the final chain made and then turns.
Continuing the diagonal spike-stitch in the second row by chaining three, stitches for the beginning double crochet and continue to the next step. Skip one stitch, double crochet again in all of your following three stitches, skip another stitch, spike stitch in the following stitch, and repeat the steps across, at the finish, and with a double crochet in your crown turning chain, and then turn, repeat the steps outlined in row two to complete your pattern.
You are almost finished, yet you will need to learn how to knot stitch, popcorn stitch, shell and puff stitch, and so forth.

2008-02-14T01:31:00.003+02:00

Grandma Craft TipsHow to understand crochet basics
To get started we can begin with crochet abbreviations to help you relate to the process. Crochet experts use the terms beg (Beginning) bet (Between), bk lp (Back loop) ch (chain), ch-(previous chain), cont (Continue), dc (double crochet), dec (decreasing), dtr (double/triple crochet), ft lp (Front loop), hdc (half-double crochet), inc (Increasing), lp (loops), and so on.
Those who crochet must learn how to handle the hook, work jointly, chain stitch, slip knot, and crochet a single row.
How to hook: To hold your hook you would start with a pencil. The hook may have a resting finger, which you can locate your thumbs to gain control.
How to work in union: Once you have a hold on your hook, weave the thread/yarn so that your, left fingers have control, and can be used to apply pressure. Once you begin your project (Work), you want to use your thumb and the center left finger to press the stitches.
How to slip knot: You want to form a shape-like pretzel by looping your yarn about, allow the loose ends to drop, fallen behind your loop. Pull the ends of your yarn without pulling too tight.
How to chain stitch: On your hook position a slipknot and use your hands, i.e. center left finger and the thumb to hold the yarn in place. Wrap your yarn first up and then over your hook starting at the back and moving to the front. You will need to familiarize your self with this procedure, since it is a basic crocheting technique known as “Yarn over Yo.”
Now pull the yearn using your hook bringing it through the lp (loop). When you yarn over Yo and combine it with lp, it forms a ch. (Chain)
Continue until you have the acceptable chain and continue motion on even strokes and until the stitches that form a chain and each stitch (st(s) are even. Near your work area, hold your chain and continue twisting whilst avoiding counting the loops on your hook.
How to crochet a single line: Beneath your crown loops insert your hook at the second chain away from your hook and begin Yarn over Yo crocheting. You should continue to stitch between the two loops. Continue the yarn over process and pull your yarn through the chain to it meets two loops on your hook. Continue the Yo process again and pull the yarn through the other two loops.
Once you complete your hook, work, slipknots, chain stitch, single line, etc, you will need to learn how to double crochet, half-double, triple; slip stitch, back loop, popcorn stitch, etc. Behind the steps is the process of working back loops, chain space, stitches between, and about the post.
How to double stitch: To double crochet you will need to perform the yarn over Yo steps and then insert your hook into the third chain away from the Yo and hook. Next, pull your yarn so that it goes through your chain and three loops at the hook. Continue the Yarn over steps and pull the yarn through the next two loops. Again, continue the Yarn over and pull the yarn through the remaining two loops.
How to half double: Conduct the yarn over steps and insert your hook so that it goes into the second chain away from your hook. Yarn over and string your yarn through the third loops.
How to triple crochet: Yarn over a couple of times and insert your hook so that it goes into the fourth chain away from the hook. Yarn over and stretch your yarn through the chain and the fourth loop at your hook. Yarn over, stretch the yarn through the second loops at the hook, and finish your three time steps.

2008-02-14T01:31:00.001+02:00

How to Choose Craft Ink for ScrapbooksHow to choose pens and protectors
Once you gather your glue, paper, photos, embellishments, etc, you will need to consider ink to mark your scrapbook. Ink is important to label photos and embellishments, including adding dates, names, locations, etc. While the marketplace sells a variety of pens, it is important to know the craft types that will give you a lasting memo.
How to choose ink:Black felt-tip pens are sufficed to handle craft scrapbook projects. Use the pen to label, mark, or write journals. If you intend to mark the back of your photos, use the grease and/or waxy pens. One of the best pens to use is the Photo Marker. The pen is has a fine tip and is a black permanent marker. The pen however allows you to use cloth to remove any writing from the back of your photos. You may want to learn about the guidelines for “CK OK pens.” The pens are tested and approved by Craft experts.
Pens include the light fast and the fade resistance pens. Waterproof, odorless, non-toxic, etc, are ideal pens for scrapbook projects. The pens should not present any odor once the ink has dried. In addition, the pen should be highly resistant to changes, i.e. it should be a permanent swift drying pen. You want to look for the pens that do not bleed, as well as for the pens that do not migrate. In short, look for craft pens with the seal “P.A.T.” (Photo Activity Test)
Once you choose your pens, you will need protectors. Protectors should be PVC integrated. In short, you will need odorless protectors. Protectors will shield your scrapbook once it is complete from acids, or other damaging elements.
How to choose protectors: Protectors include the complete page covers. The protectors will help you to organize your photos while protecting them from slips. You can add memos while using protectors. Page protectors are another type of covering for your scrapbook. In short, page protectors are sheets of plastic. You can purchase the top-loaders, or side-loaders. You can use the sheets, since it has holes to make up binders as well. The economical page protectors include the lightweight. The lightweight protectors are thinner than the medium and heavy protectors are.
How to choose plastics: To choose plastics consider enclosures, sheets, and encapsulation. The plastic should be made up of polyethylene, polypropylene, and/or polyester. Vinyl should not be used to protect your photos. You will need colorless, clear plastic protectors combined with a P.A.T., seal. The plastic should be odorless and untreated. You want quality plastic that does not include plasticizers. The surface should have coating, yet the sides should not. If you want to protect your scrapbooks, i.e. photos, embellishments use the UV inhibitors. Ultimately, you can use the sheets, which absorbs.
The non-glare or clear plastics should be considered when purchasing protectors. Non-glare will reduce glares shining on your pages with its matte alike elements. The clear is ok, yet unlike the non-glare, you do not get the luxury of reducing smudging, or fingerprints. To learn more about the latest pens and protectors go online where you will find a variety of products available to you. Do not forget to search for the seals.
Another type of protector is the panoramic pages. Page is great if you want to view four-sides of your spreads. The protector is great for creating vacation scrapbooks. Once you gather your pens and protectors, you want to move onto paper. The cardstocks is ideal for designing quality scrapbooks that will last a long time.

2008-02-14T01:30:00.011+02:00

How to choose Craft Paper for Scrapbooks
Now that you have your pen, glue, protectors, etc, you will need to choose paper for your scrapbook. Craft paper with seals of approval is ideal when creating scrapbooks. Craft paper includes the CK OK products. Paper designed for photocopying, journals, or albums are the choice papers. The paper that most crafters use is the pH that does not go over 8.0. The ideal level is 6.5 and/or 7.5. Un-buffered paper is the choice for many crafters, yet some recommend buffer paper with alkaline base. Paper should have an acid-base; therefore look for the lignin-free products. Paper without dyes, and are colorfast are choice products also. P.A.T. approved paper is the Photo Activity Test products, which is ideal for scrapbooks.
The paper outlined is ideal for photos. If you intend to add extras, consider pH levels no higher than 7.5 also. Buffer paper should have a very low content of zinc, magnesium, and calcium carbonates. Use the lignin-free and colorfast papers that do not dye as well.
Paper includes the basic of decorative designs. Pattern is a type of paper that has designs that replicate throughout the page. You can find conservative bold, tasteful designs, funky stuff, and so on. You can also purchase matching stickers to setoff your scrapbook.
When you create pattern scrapbooks keep in mind you are creating a book that brings your past to the future. You are creating a memo that tells a person about your past. In view of the fact, when choosing pattern paper try out the general patterns. If you choose extreme patterns, it will only rob viewers of seeing what you crafted to promote in the first place.
How to choose patterns: “General pattern paper” has a variety of designs, including floral, stripes, and dots. You can choose the general patterns if you want variety. General papers are ideal for those who are searching for versatile results as well.
If you are designing holiday decors use the general patters with minuscule red dots. The dots will blend well with the holidays design, such as those during Christmas.
Once you choose your paper, you can craft some ideas, such as using your patterns to fit in with small and large photos or embellishments. Paper mounts may include single mounts. You can use die cut layers to shape.
How to choose die cuts- Die cuts for shaping may include small and large-scale patterns. You can also use scraps, punch holes in the patterns to create borders. Patchwork is also made up of scrap patterns.
How to pierce: Paper piercing is an adventure. To finish the process you merely create layers, such as the matching templates, trace, cut, and join the layers together. Use solid patterns along with general scraps to finish the process.
You can also use scraps from your patterns to create letters. Of course, you can mark your pages, including dates, names, locations, etc, with craft pens, yet the letters you create with patterns will enhance your scrapbook. Try using the patterns to create a title page.
Use patterns also to create letter headings for journals, captions, title page, and so on. If you want to produce a basic layout, use two different patterns. The first pattern should mount your photos while the other is used as a background setting. You can add matching stickers to enhance your new decorative scrapbook pages.
As I said, once you choose your paper search for the designs that match your scrapbook layout. Patterns include the framed designs. In fact, the framed designs can off set your photos dramatically, especially if you choose frames that set off your photos. For instance, if you have a photo of your child playing soccer, why not choose the framed patterns with soccer as the title in the lower box, and soccer balls around the frame.

2008-02-14T01:30:00.007+02:00

How to Choose Craft Stationary Paper
Stationary paper makes a great design for any scrapbook. Stationary paper helps you to craft fun pages, basic layouts, extraordinary captions and more. Crafters can purchase stationary paper at any craft shop, stationary store, or scrapbook department. The paper is available in a variety of size, colors, designs, etc.
How to choose stationary paper: You want paper that matches your scrapbook theme. The paper should harmonize with the colors in your photo, as well as the subject.
How to create dividers: Dividers are crafted to add little amazing features to your scrapbook. Dividers are designed to allow your to separate seasons, events, travel, etc. In short, you can use dividers to create a storybook. Use your pictures and make them come together while crafting your dividers to separate the photos. Again, you want to choose coordinated stationary that matches the theme of your storybook. For instance, if you’re creating a Christmas them, choose snowmen, pine trees, lights, Santa Clause, or related patterns. On the other hand if you are creating a fall theme, then choose orange, yellow, green, and brown patterns, such as those with leaves fallen from trees.
Tip: When you prepare to mount photos on stationary paper, you can cut out the interior region, which will not be apparent when showing your photos, to use as extra paper for the next pages.
When you use stationary to craft your scrapbook, try learning steps in die cutting, punching, or use stickers to create additional patterns to set off your photos. For instance, if you are creating a theme, and your pictures have off casts, such as sun, sky, trees, etc, buy stickers, or cut to die cuts or punches to set off your theme.
Tip: If you are announcing the birth of a child, try using rubber stamps and print your baby’s fingerprints, handprints, or footprints on your stationary. Add your baby’s date of birth, name, and so on to setoff your card.
Creating scrapbooks is a fun adventure. You can use your creative mind without worrying about being a pro artist to create anything you choose. When you choose patterns and stationary however, always try to make sure that the designs coordinate with your theme to invent a lasting memo.
You will find colors and patterns at craft shops, stationary stores, and so which will match your theme. The paper includes decorative patterns. The patterns include the holiday paper, travel, birth, and more. You will find checkers, stripes, dots, plaids, floral, sports, and other designs online as well. Specialty patterns are designs that offset cardstocks or scrapbooks as well. You will find corrugated or ridged cardstock, handmade paper, vellum, and fabric resembling velvet (Velveteen) at craft stores.
If you are crafty, you may want to make up your own patterns, designs, stationary, etc. You can purchase do-it-yourself kits online or at craft stores. The kits will provide you instructions, guides, etc, that help you to create your own patterns. Keep in mind however, if you are creating your own paper, use the paper approved by P.A.T. or CK OK. Acidy-based paper will cause ruin to your photos, embellishments, etc.
The scrap you have left from your patterns, stationary, etc, you can use to create letterheads for your title page, header, and so on. Otherwise, you can use the scraps to start your next pattern on the following page.
Crafting scrapbooks is a fun adventure that keeps those special moments alive. Once you have purchase your pens, paper, patterns, protectors, stationary, etc, it is time to move on to craft your scrapbook, bringing it alive.

2008-02-14T01:30:00.003+02:00

How to Choose Craft Threads
Threads are important when crafting quilts. You will need certain threads that match your fabric, as well as suitable supplies and needles. Yet, when you consider matching threads to your fabric, you will also need to consider a few other details.
Types of threads: You have choices of thread, including rayon, buttonhole-twists, silk, all-purpose, cotton, nylon wool, monofilament, metallic, exceptionally fine, mercerized cotton and so on. To consider threads, first you must ask if you are intending to create your quilt by hand, or machine? Do you prefer to darn or to bast?
If you are sewing fabric piece onto fabric, using shaped pieces to form your pattern, you may want to choose the monofilament nylon thread. On the other hand, if you are sewing your fabric by hand, sewing the pieces to form a pattern then the silky threads, or the all-purpose threads may be a good option.
If you are hand crafting you may want to consider other threads than the all-purpose. For instance, you may get more from the threads with polyester cores and wrapped in cotton. The polished 100$ finished cotton is also available. If you use the thread with finished polish, it will reduce wearing if you are sewing by hand. The thread will help you stitch smoothly without worrying about tangles, creases, etc.
TIP: Buy beeswax cake to minimize tangles.
Once you finish choosing your threads, you will need to create a craft basket. The basket will include thimbles, scissors both for cutting paper and fabric, (a few pairs) threader, hand needles, pencils, tailor chalk, seam ripper, and a measuring device. You will also need straight quilter pins, pincushion, glue stick, and a few safety pins. (Large)
Once you gather your basket, you may want to add supplies, such as rotary cutters, iron/board, masking tape, press cloth, spray bottle, graphing/tracing paper, hoops and frames, colored pencils, plastic sheet, ruler, cutting mat, and so on. You may even want to toss in a few band-aids to cover those pokes and sticks you will get from hand sewing your quilt.
When you purchase your needles choose the “household assortment” kits to sum up your sewing needs. Otherwise, needle sizes are opposite, i.e. if you purchase the larger numbers, you get a smaller needle.
If you are hand, sewing you may want to consider “sharp” needles. The needles make it easy to stitch through heavy-duty material. In stores you might look for sharps, or “household needles.” To shorten your field trip on the mind tangler, just purchase a couple of 8’s and 9’s, as well as the variety packages. The needles with slotted eyes are called the “easy-threader,” which you can use also if you have problems using other needles.
You will need the seam ripper to correct your mistakes. The rippers will cut your thread, yet you should practice before you use them on the actual quilt, especially if you are new at making quilts.
You will need markers as well as a ruler to measure seams, patterns, fabric, etc. The needle threader will make it easy to thread. Remember the tips of some needles are small, making it difficult to get the thread pulled through the eye. Thimbles are designed to reduce the need for band-aids. You will need to test a few thimbles to fit them to your fingers.
In all, each item in your basket will help you complete your quilt. If you are new at quilting, visit your library, or go online to learn more steps to help you create a fashionable design, or a traditional style if you choose.

2008-02-14T01:30:00.001+02:00

How to Choose Film for Crafting Scrapbooks
Pictures make up scrapbooks, since the photos is what delivers a story. Of course, you need journals, lettering, titles, captions, dates, names, etc, yet the photos will make up your book. To create photos for scrapbooks it is wise to choose the proper film speed.
Film as on its label the marks ISO and ASA. If the ASA mark has a high number behind it, the quality of film is good in particular settings only. For instance, if you were taking pictures outdoors where the sun is reflecting brilliant light, you would likely use the ASA 64 to 125 films to avoid sunlight exposure that affects your film. If the light is low, you would use ASA 400 to 800.
If you are capturing movement, use the film with faster speed. The downside however, using this film you may pick up grit and the specific details may be lost. You could use slower speed to pick up the details, yet the film will not do well when picking up motion. Therefore, you need recourse.
Medium film speed is in the range of 64 to 125. The film may blur motion, yet if you take a few steps, you can avoid blurring. For instance, if you are taking a picture of puppy, try holding the camera steady. You can practice a few steps to catch your puppy in action. Better yet, trying supporting your puppy against something to encourage stillness and quickly snap your shot.
The fast speed film includes 200 to 400 ASA. If you are snapping shots in low-lighted areas, use this film. The fast film will capture motion and will not cause blurring.
The best outdoors film where the light is glaring from the sun is the 200 ASA series. This film will not blur when capturing motion.
When snapping shots try to make sure, the subject is relaxed before taking the picture. You can choose lighting also to catch special affects in your photos. For instance, lighting can catch background effects, including silhouette figures.
The 400 ASA series is great for using in low-lit areas. The film is also great to use when you are snapping photos that involve replicated motion. The problem is when you enlarge the photos you may see course, or gritty background.
ASA has the series 800 to 1600. The film works best in low-lit area. The 1600 series is best used in areas where darkness shadows low light. You may have course or gritty texture still.
The day you intend to capture photos for your scrapbook, you should consider carrying along with you a variety of film for all occasions. When you start to take, your pictures consider props, backgrounds, position, directions, etc. If the subject is small, you want to move closer in position to snap your shot.
Professional photographers often tilt their camera, change their direction, or angle and so on. Sometimes the photographer will stand, kneel, or sit when snapping shots. When you prepare to take photos for your scrapbook, try to work as a professional would so that you achieve the best results.
Professional photographers use the “Law of Thirds,’ when snapping photos. The law states that you should move your, subject to the right or left third. This means you do not move the subject to the center at all times when capturing pictures.
When you snap shots outdoors, you may want to use a flashcube. If you have one of the newer cameras, likely the flash is built-in. Work your camera so that you become familiar with the flash actions. When using “fill flashes,” i.e. the outdoor flashes make sure that your subject is at a distance before snapping the shot. (15 feet)

2008-02-14T01:29:00.007+02:00

How to Choose the Basics in Quilt Craft
Quilts are often made up of quality fabrics. The fabrics include cotton, which polyester is often avoided. Once you purchase top-quality cotton fabrics, you will need to consider style.
How to choose style: Quilts are crafted in the Feminine, Cottage, Victorian, Country, Scrappy, Lodge, and Conventional Amish, Modern, or Juvenile style.
The female and Victorian often has a mixture of flowery and smaller scales of coordinating patterns and colors. Cottage quilts have brighter pastels and prints on a smaller to average scale with off-white solids, such as beige, manila, fawn, or camel. The Country quilts include the reminiscent of dusty shades that stretch along scales of solid shades. The colors are solid and a couple of colors, such as off-whites, or flag colors integrate to make a fashionable quilt.
Lodge style quilts are made up of reticent, or silent shaded prints, or reminiscent of woody colors that are deeply imprinted in the quilt. The colors are offset by shades of plaid, and the variations combine green, brown, rust, orchra, red, navy blue, tan, black, etc, blending it to make the Lodge quilt.
The scraps means you can create any type of quilt you choose, as well as shades, tones, colors, etc. Conventional Amish quilts combine the penetrating shades of gemstones on a solid background with a mixture of black.
Modern quilts include the colorful novelties whereas simple lines are used to make up its squares.
Juvenile quilts is often made up of brilliant pastel, or crayon shades, colors, tones, etc, and includes prints as well as a solid background.
Once you choose your style, you will need to purchase your materials and measure your fabric. The fabric should be machine washable. Sometimes however, the fabric will bleed, which in this case you will need to continue wash, rinse, and continue until the dye remains in tact.
Once you purchase your yard bolt, or fabric you will need to learn steps to cutting your parts “On the grain.” This is a common phrase used by quilt makers. In addition to cutting, you will need to purchase fillers and learn how to craft them so they blend into your quilt. In quilt maker terms, “batting,” is choosing your style so to speak. For instance, if you wanted to create a traditional quilt you would choose ‘flatters” that match your material. When choosing batting it is ok to purchase polyester. You will have a choice of wools, cotton, and so on available as well. To help you make a decision consider the following questions.
How to choose: Do you intend to craft your quilt on a sewing machine, or by hand? What is the size? How much time can you invest in making your quilt? Do you intend to wash your quilt regularly, or design a fashionable quilt for your showcase? Do you plan to make a quality quilt?
Asking the questions can help you choose your materials. You can find additional help by visiting craft shops and reading recommendations by the manufactured written on the batting label. In the meantime, visit the Internet to choose your patterns.
You also have the pre-packaged options, which you can purchase your batting, including the yard of batting. If you choose the pre-packaged, you will have convenience, such as elimination of cutting. The pre-packages are already cut to fit the average beds.
If you purchase yards of batting, be ware that it has not been pre-shrunk. This means, you will have bulks of batting to carry to your home. You want to keep in mind that yards of batting is suitable for smaller projects only, and is difficult to cut your patterns.

2008-02-14T01:29:00.005+02:00

How to Craft a Bonnet
To create a porcelain doll bonnet, first determine the size of your doll head. Once you have the size you will need materials. You can use wire to mould your bonnet if it is less than 10 inches. You can use any type of material you choose to make your bonnet, including batiste.
The materials you will need are 6 inches of fabric (white), such as the batiste. You will need a couple of edge laces, say around 2 ½ yards and ½ inches of lace edge. Gather 36 inches of smooth craft wire. You will need 28 inches of dual side rayon fabric, such as satin ribbons and a set of wire cutters, and pliers with a long muzzle. Once you gather your materials, you can start your methods in creating your bonnet.
You will need art paper to create your patterns. Once you finish you will carve two sou’ westers: (i.e. bonnets) you should have two rows of lace, which one is on top and the other. Once you have your patterns make a wavy edge forming the scallop near the lace edge and continue to the middle of your bonnet. Stitch together the right side and form a straight-line stitch to lace the edges in order and to connect to the edges of the neck and the edges at the top. To show lace when the bonnet is turned, the lace should jut out over your seams at the finish of your hat.
Now, use your lining and place it over your sou’ wester and begin stitching it collectively over the prior stitch lines to the edges of the neck and edge of the crown. Leave open your ends, turn your bonnet at the inner recesses, and out so that the lace shows at the crown edges and neck, and then press.
Use your pattern and stitch along the lines. You want to create a cover for the wire. Next, sew one more edge of lace underneath the hat on the left side and continue to the right. Stitch in the direction of your line and cover near the edges of your crown. Stitch your wavy lines at the crown into the lace and continue to the outer edges.
Now you will need to cut the ends of your hat. Use your wire cutters and cut along the lines of your wire so that it fits 11 inches of the edges of your crown. The last edge of your crown will need 8 ½ inches of wire. The center should be 7 ½ inches and the edges of the neck should be 7 inches. About ¼ inch, curve the ends of your wire. Next, weave your wire into the covers evenly at one finish of your untreated edges. Bend the wire ¼ inch with your pliers and another quarter over until the wire is secured. Pull up your fabric at the edges of the crown, including the other crown edge and add your wire to the center and at the edges of the neck wire.
The wire will extend to the other finish area, which you will need to trim the curved ends once you check to make sure that the area is balance. You want to avoid allowing the wire to ride to the cover. Next, bend the wires ¼ inch twice and secure your ends. You want to even your decorative fabric edgings, which once your bonnet is completed you can trim your ribbon, creating dual 14 inch lengthwise cuts and fix your ribbon to the side of the hat. If you would like additional designs, such as the rose-shaped badge (Rosette) you will need to use rose grubs and embroider them onto the ribbons.

2008-02-14T01:29:00.003+02:00

How to Craft a Garden Scrapbook
Garden scrapbooks can present a natural feeling when the audience is reading your storybook. Flowers are one of the popular natural-based elements that many people cherish. You can store flowers in a scrapbook to craft a garden style creation. To start you will need a dried flower. Compress the flower placing it into your scrapbook pocket, such as the memorabilia. Next, glue, tape, etc, the flower so that it is sticking on the page securely. You may have seen flowers preserved in bibles. The process in scrapbooks is similar, only you want to stick the flowers so that it does not fall out.
How to craft flowers for scrap booking: You can use corsages, bouquets, or the colored part of the flower to craft your garden scrapbook. The compressed and dried flowers should be in a straight line, added to your scrapbook page, and smoothly seated near your photographs.
Your dry flowers and compressed flowers should be laminated. Use Xyron, or any acid-free product to laminate your flowers.
During the fall is the best time to pluck materials to make up a garden scrapbook. As you make up your garden scrapbook consider title page, captions, journal, lettering, photos, plant species, headings and more.
If you are adding fall leaves to your scrapbook, you may want to visit a copy shop. You will need to place the leaves in a sealed container when transferring the leaves. The leaves with depreciate over time if you fail to follow instructions. You can add the leaves at your title page to start your garden scrapbook.
If you are making up a scrapbook to present your garden, snap a few pictures and make up a blueprint. The blueprint should include each detail of your garden. Following, you can add a journal to let your friends and family know how you invented your garden.
When to take photos: Spring, summer, winter, and fall is the best time to take photos of your garden. Each season provides you a variety of colors, shades, texture, blooms, etc. Once you snap the shots add them to your garden scrapbook.
If you want to get created you can cut, paste, and add extras to your scrapbook, i.e. cut magazine clips based on your garden theme and add them to your scrapbook. Also, you can add tips beside your pictures to help your family and friend learn.
During the seasons, you want to document your gardens activities as well as your own to create a genealogy, and history of your scrapbook. Record detail specifics to help your audience learn from your efforts. During the summer record, the blooms so that when winter comes you can look back on your success. When the blooms start to grow, you may want to snap photos so that you can add to your scrapbook. Try crafting your scrapbook in a chronological order so that your book tells the story you want to portray to the audience.
Some people add special rocks to their scrapbook. If you decide to add, rocks try to find the small, flat rocks. The thicker, bulk rocks will only interrupt your scrapbook.
Flowers are beautiful inside scrapbooks. The flowers that set off garden scrapbooks include roses of all colors, daffodils, tulips, crocuses, and so on. Still, if you add flowers to your scrapbook you want to use petals that harmonize with your theme. For instance, if you are crafting a summer page, then use colorful flower copies. If you are crafting a fall theme, then use the flowers that flow in harmony with your theme.

2008-02-14T01:29:00.001+02:00

How to Craft a Lively Scrapbook
Crafting a lively scrapbook is a fun task, and can be accomplished with minimal supplies and cash. Scrapbooks are a storybook combined with pictures, embellishments, documents, and more. Each step you take to living up your scrapbook will tell an amazing story to the audience enjoying your creation. The photos say a thousand words alone, yet if you add background, stationary, patterns, lettering, titles, captions, stickers, etc, you can living it up even more to present an outstanding story.
Penmanship is important. If you need help with penmanship, you may want to create your own letters from scraps, such as patterns or stationary. When you create a scrapbook, you want compelling messages, lettering, journals, pictures, and more. You will need a genealogy to start telling the story of your family and their history. Next, you will need pens, paper, letterheads, stickers, etc, to finish your story. You will find archival pens in a variety of styles, colors, etc.
Pens available to create lively scrapbooks include permanent markers/pens, waterproof, non-toxic, fade-resistance, non-bleeding, quick dry, and pigment ink. Black, felt-tip pens are great also, yet you want to be careful not to apply too much pressure when writing. You want to avoid the acid-based pens, markers, etc. Search for the CK OK and P.A.T. approved pens in the craft stores.
How choose pens for writing lettering and journals: If you choose, the felt-pens make sure that you understand the point size. The sizes range from .005 to .08-mm, depending on the style.
If you want to invent a fancy scrapbook check out the line of inscription pens. The pens are designed to handle captions, titles, etc. The pen tips have broad, flat tips and when used at a “45-degree” slant you can create beautiful letters. Practice first before using the pen if you are not use to calligraphy styles.
When creating borders, captions, or titles for your scrapbook you can use the Zig writers also. The pens were designed by expert crafters, or manufacturers that specialize in scrap booking. You will find the “Zig Memory” Systems, etc. “EK Success” is the creators of these pens, which include the Zig Writers, Calligraphy, scroll tips, fine tips, dense markers, brush pens, and the bullet pens. You have a selection of colors to choose from.
Additional pens include the chisel, colored pens, pencils, and the goof-proof rollers, which are gel based. Chisel comes in a variety of sizes, colors, etc, and will offer you versatile lettering. Scroll is designed to the handle sophisticated letters. The pen is called “Scroll and Brush. If you are familiar with computer fonts, perhaps the closest font to the scroll pens is the CASTELLAR font.
In addition to pens, you can purchase the craft paint pens. You will find a variety of colors and pen-tip sizes are craft stores, online, stationary stores, and more. The gel-based pens are similar to paint pens. In the line of pens, you will find lightning, milky, and more. The pens are ideal for writing journals.
Color pens enable you to color in areas of your scrapbook to produce a nice looking design. You can use the color pens also to draw your own pictures and more. Colored pencils are ideal for designing titles, lettering, captions, etc. The pencils come in a variety of colors. Some of the popular craft brands include Berol Prsima, and the Zig brands.
TIP: When using paint pens make sure that you apply adequate pressure without over doing it. To create letters, i.e. fancy letters large or small use the double “fine n’ chisels.

2008-02-14T01:28:00.005+02:00

How to Craft a Smock
Smocks are fun; rather making the bodice of a porcelain dress is an adventure that leads to joy. To get started however you will need to consider design.
How to choose design your smock: In the first row, you will need to knit stitch your design into the 799 DMC. The stitching process is the cable stitches, which you knit to produce patterns that resemble twisted ropes.
The second one and a quarter line requires the baby waves stitched over another ½ line followed by another 1 ¾ baby waves over another ½ line, which should form the shape of a diamond with an additional line at 1 ¼. The following line should be two ½-baby waves over another ½ line and continue to the next line at three ¼-baby waves moving to the other side at ½ line into another diamond shape and a line at 2 3/4. Finish with a 4-line cable stitch.
Next, you will collect the top of your dress to the seams of the shoulder at the back and front yokes and complete the seams by crisscross stitching and pressing the bodice at the back and on the folded line. If you want easy attachment of your pattern to the collar, you will need to trim the piping. Next, begin sewing your piping to the other side of the collars and a the untreated edges.
TIP: Use greaseproof paper and place it beneath the collars to continue stitching with ease.
Once the piping and the collars are collected at the area of your facing collar, attach side by side to the right and use stitch pips to finish the following lines. Next, cut the seams and then trim around the collars. Press after you turn your seams to the right. You want to mark the front center yoke and make a line, marking it so that it aligns with the back of your bodice. Pin your collars so that it is placed with the neck and join with the front center. Once you place your area, begin sewing about the garment’s edge and around the neck toward the center of the back whilst leaving the facing liberal.
Continue: Bring the facing on to the other side and join it so that it collects with the seams of the shoulders and the front center. Now stitch about the garment’s edge and around the neck the same as you did on the prior stitch. Cut, and press after you turn your garment on the right angle. Now, stitch pip so as to, cross the right region and the yoke at the front on your seam lines. The facing should be liberal. The front smock area is now ready for you to complete.
To complete the smock you will need materials. You will need 28 inches of light tone and plain-woven soft, smooth fabric made up of linen or cotton. You will need to choose a small pip, a few long, narrow buttons, size 50 cotton thread broder, embroidery thread, and so on. Once you have your materials make your pattern and cut two frontal yokes, dual fold yokes for the back, sleeves, bands, collars, (4) rear waistline, band for leg, and 1 front and back segment for pant fold. Next, use starch and spray your fabric. To attach your pips use the zipper or pip foot.
You will need to finish your smock starting with your plate, front smock section and fitting the yoke at the front. Once the yoke is fitted you can join yokes and keep the pips near the first row, you will need to knit stitch your design into the 799 DMC at this time and finish your design.

2008-02-14T01:28:00.001+02:00

How to Craft a Tablecloth
Tablecloths add cover to your table, which can protect it from scratches, dents, etc. To craft a tablecloth you will need materials, finishing sizes, gauge structure, and directions. In view of the facts, we can present to you a few steps so that you can protect your table from damage.
You will need a gauge start at 5 inches diameter or 2 ¾ inches in diameter for the smaller motif clothes. You will need your finishing, which should be around 35 inches times 35. Purchase crocheting thread around 10, and 250 yards of spherical cream. Purchase the number seven crochet hook made of steel.
Once you purchase your materials, you can choose to make the small or large motif. Use your 5 inches in diameter to create 49 larger motifs. To start add eight chain stitches to meet with a slipstitch. Once you form your sphere move to round one and continue through to round eight, until you come to the smaller motif.
To begin stitch five chains to meet with your double crochet and the two chains you created. In your ring, double crochet and chain stitch two rows working up to eleven stitches/doubles and slipstitch into the third chain at the start of your first chain and leave three spaces as you work to round two. Now, add a slipstitch to start another space, chain one stitch, and three single crochets. Once you finish crocheting around the space, add a slipstitch to the first single and the 36 single crochets.
Moving on chain one stitch and work into the back loops and add single crochets in the other stitches. Finish with a slipstitch working it into the starting single crochet. Continue to round four. Chain four stitches into the first double and chain another stitch working it so that it blends with the back loops. The following stitch, add a double and one chain. Repeat your steps working around the slipstitches and to the third chain stitch created at the beginning of your chain. Move ahead to round five. Slipstitch so that it blends into the following space you will create and add a chain stitch working another two single crochets into the surrounding space. Slipstitch so that you meet your first single crochets and moves to the next round.
Now, chain four stitches so that it meets with your first triple crochet. Work the stitches into the back loops and triple crochet stitches so that it combines with the following stitches. You will need to create four and then chain five stitches, skip one, and triple the following five stitches. Repeat and work around your slipstitch at the crown of your starting chain. At this time, you should have grouped twelve of the five triples as you work to the crown.
Continue add a chain stitch it toward your back loops. Single crochet up to the five triple crochets you will create. In the five chain spaces thereafter you will need to have created four singles, chains, and four singles again before repeating your steps, working about the slipstitch the created at the beginning single. Continue to create your first motif, which is the larger part and then slipstitch so that you meet with the following two stitches. Chain stitch into the single crochet that starts the following two stitches and then chain five stitches working in your double, four chains, and another double crochet within the four chains at the loop. Chain two stitches and slipstitch to meet your loop that starts your motif, Chain two stitches within the identical four chain loops on the succeeding motif. Chain five stitches and skip up to five stitches on the beginning motif. Repeat your steps as you did when creating the initial motif. Continue up the ladder by creating your tablecloth. Now you are ready to make your smaller motif and complete your tablecloth.
To begin create 36 motifs and join them into the facing of the larger motif at the between lines. Chain eight stitches, add a slipstitch, and begin moving your starting ring to repeat rounds when creating your larger motif, i.e. rounds one through three. Next, chain stitch and work into the back loops. Create four single crochets, while single crocheting into the four, and add six chain stitches to join a single and the larger motif. Add another six chains and skip one, make a single and work it into the following single. Chain 4 and another single working until it blends into four chain loops not joined with the larger motif.
Chain four stitches and skip one single. Repeat your steps, working about the slipstitch that you created in your initial single. Now, complete your tablecloth by fastening it.

2008-02-14T01:27:00.000+02:00

How to Craft an Afghan
You will need a 40 inch by 60-inch material to finish your Afghan. Once you have the finish you can start building your materials.
How to choose materials: It’s up to you what type of Afghan you want to create, however in this article I will show you a few steps in my the “Ivy League.” You want to select deep, vivid colors. Ultimately, you can select soft fabrics. You will need wool, preferably the heavy-duty. Purchase 45 ounces of aqua, red, etc, in a variety of colors. Choose 22 ounces of red, light green; dark greens, forest green, etc, and blue. Choose 28 ounces of red and navy blue in a variety of colors. You will need to purchase a hook, preferably the “K” crocheting hook. The gauge is around 6 ½ squares, which you can purchase a hook that matches this gauge also.
How to square: Use a variety of colored yarns in succession per square. If you want to shift colors, it is best to avoid chain stitching at the end of your lines. Start turning your work until you connect with the colors, chain stitch I row and work your line in accordance.
To chain stitch, start with placing one slip knot over your crochet hook. Your hands should be prepared to work, which includes the thumb and middle left finger. Hold the yarn at the end and then wrap up and again over your crochet hook. You should be crocheting at the front of the back and to the front. Learn more about “Yarn over Yo.”
When you start you, Afghan you will need to square, row, row, border, assembly, border, etc. When you start squares, create 54 squares on a chain two stitch. Move to row. To row one work, you will need three single crochets in your second chain stitch and away from your hook on another single chain turn.
Move to your second row. Work two single crochets in your first single crochet and move to the following single crochet and the second, single crochet in the last single. Continue with five stitches and chain another single turn.
In your third row work two single crochets in your first single, continue singles within the following three singles, adding two more singles to your last single, and then chain another turn.
Moving to the fourth row, work two singles in your first single and then single crochet an even row to the last single. Work another two singles to the last and chain one turn.
Next row, repeat by adding four rows and after you reach rows eleven up to twenty-three begin your stitches across the material.
Continuing, create a loop in all of your first two singles. Use the “Yarn over Yo” method and move through all three of your loops on the crochet hook, which brings you to one single crochet and the decreasing phase. Next, single crochet two even stitches to decrease your last two singles and churn one turn. Repeat the steps on the twelve rows, yet only stitch three single crochet remains.
On your last row create a loop in each of your preceding three singles and start the “Yarn over Yo” method to continue through each loops on your crochet hook and then close.
Now you will start border rounds. Gather your greens, blue, and reds with a slipstitch in your corners. Do another three singles in the corner and another single to the following corner making sure the singles are even. Repeat the steps from about, and slip stitch toward the first single crochet.
On your second and third rounds, slip stitch toward the middle stitch of your corner, and repeat the round once, and close after your finish the third round.
Now you are ready to assemble. You should have a six square Afghan created, which is wide and has another 9 squares lengthwise. You want to oversew stitch (Whipstitch) the square togs and run ALL crosswise stripes so that they move in the same course. Now, border another round. Gather your yarn with another slipknot at the corner, and single crochet three in the corner, single crocheting another in the following corner, while making sure it is even. Repeat, stitching around and slip knot to reach the first single. Round two includes the slipknot to the middle single crochet of your corner, repeat round one, and close.

2008-02-14T01:24:00.003+02:00

Assembling the Top Craft
Wall hangers are easy to create. The minute size quilts once created will make a nice gift and/or decoration for your home.
Once you have your parts together, as well as have your tools you can get started making a wall hanger. If you are new to quilting, do not worry since the hanger we are making is one of the easier groups of craft to create.
Do not forget to get your rotary cutters on hand, since throughout your quilting project you will need to cut ¼-inch allowances for your seams. Now, assuming you have your green, tan, blue, yellow, and peach print in order we can get started making your top section of the quilt.
Briefly, I will go over the sections to help you prepare. You should have two, 2 ½ x 19 ½ inches of upper and lower borders in the green prints. You should have another two borders in green at the size of 2 ½ x 27 ½ inches. You should have the value of 36 for your D Square and the size at 1 ½ x 1 ½ inches. Tan print has six parts, i.e. A-strip, B piece, C-Strip, D-E square, and F-strip. Blue only has one part, while yellow has three and peach has one. The yellow is C-strip, D-square, and the last value of four is the cornerstone. C values eighteen, and measures at 1 ½ x 1 ½ inches, while D values 12 and measures at 2 ½ x 2 ½ inches; F is the peach strip, Peach, which values four and its gauge is 1 ½ x 3 ½ inches. Peach has the G-strip, which values four and measures at 2 ½ x 5 ½ inches. The rust prints include the value of six, which makes up the sashing #1 vertical at measures to 1 ½ x 13 ½ inches. The second sashing creates three and measures to 1 ½ x 21 ½ inches, while the last H strip values four and measures at 1 ½ x 7 ½ inches.
You will need to cut these pieces of your quilt out. Use the guide above to achieve a precise cut. Now you can crown your quilt. Start by creating a row and a block. Use your block, row, and begin stitching your D-Blue Square to attach to the A-Tan narrow pieces. (Strips)
Continue to the next color arrangement to complete the second block. Use the D-Yellow Square in the second block and create a couple of narrow pieces per color arrangement.
Now stitch two pieces of the tan print together to create a starting row two and in the first block. Use Tan B, a couple of Blue Cs, a Yellow C and overturn so that the yellow/blue has a gateway through the color arrangement at the second block. You want to create double narrow pieces.
In the third row, create a couple more rows and arrange the colors according in the blocks. In the fourth row, create another two rows so that you have a nine pattern in your color arrangement, which should extend crosswise. Alternating, add stitches to the blocks (2) and make your center by creating #2 sashing narrow pieces equaling three. Now press your fabric. Use an iron without ironing, rather pressing as you move along.
You are ready for your borders. Starting with the #2 border, stitch the narrow pieces so that it moves left to right, and to the sides at the right of your quilt, stitching toward the middle. Add 2 ½ x 2 ½ inches, by stitching the yellow print square. Stitch along the shorter ends linking it to your dual borders. (Strip #1) Moving along, at the edges along the top and bottom, stitch the narrow pieces, stitching along the middle. You are now ready to complete your project.

2008-02-14T01:20:00.001+02:00

Assembling the Crown of your Crafty Quilt How to Assemble your Crown
You have created flowers, basket, handles, etc, so now it’s time to assemble your crafty quilt. Let’s get started.
How to Assemble: You are assembling the crown of your quilt at this point. If you haven’t started your craft project to create the Spring Basket, leave this work to those who are at the crown. To collect your crown use your threads that counterpart and begin blind stitching across your fabric, sewing your flower onto the fabric, as well as two of your foliages. Sew to the center bloom as well, and stitch en route for the wrong side (left) of your created 3-block baskets. Stitch to the right and finish your final blocks. (3)
At the lower region of your basket, affix your blooms so that they join with the handles. Now, snip your lighter shades of filaments/strands, and shades of pink (6) silkworm fibers (Floss), cutting lengthwise so that it is corresponding with the measurements lengthwise of your arm. You want to create strands (3) on each section of fiber. Divide and use needle and thread (large eye needle) along with the length of your three filaments and stitch so that it forms a circle. You are making your granny knots, to create the French version that will stretch about your center flower and the dark flowers you have created.
Again, trim your darker shades of six-pink, filaments, and silkworm fibers, cutting it along the length so that it is equivalent to your arm span. Generate 3-filaments on each section of your fibers. Partition and make use of hand used needle and filament, stitching the length the three threads. Stitch until it shapes a loop. Starting at the shades of green, snip the narrow sash pieces and cut the pieces into 1 ½ x 10 ½ inches. You are making your D-block. Snip another three narrow pieces until you achieve measured parts at 1 ½ x 28 ½ inches. You will use these parts to make your E-block. Alternatively, snip your D-block, cutting three from your pattern and form 4-D narrow pieces. You want your ducks in a row. (I.e. Blocks) Use only 2-blocks to form a row at this time and begin stitching the blocks forming 3-E narrow pieces. This is the middle region of your coverlet, or quilt. Use the variety of floral prints and snip the inside borders of your narrow pieces. Snip at least two narrow parts at 1 x 23 ½ inches. Use the parts to create the F-borders at the side. Now, snip another one x 29 ½-inch narrow pieces to create G-borders at the lower and upper region of your quilt.
Continuing, sew the border sides to the center of your coverlet. Continue to sew the drop and greater borders. Begin at the floral region, i.e. the print textile press with your iron. DO NOT IRON rather gently press? Lift; relocate, etc.
Now, you are ready to craft your binds for your quilt. Use your floral materials and sew the greater, drop, and sides of your borders. Now fill it in with the center of your quilt patterns.
You have done a great job, so now it is time to finish your work. Use your backing cloth, batting, and crown of your coverlet and coat. To prepare your coverlet, pin baste to layer, followed by hand sewing or machine sewing your quilt. Use your machine at the crown to sew the untreated edges. If you have extra batting, cut it. Do the same for backing cloth. Now bind and snip your satin, yellow ribbon to form your bow. Cut six even parts. Finish by tying your ribbon, forming a bow and stitch by hand your bows, one for each side of your handles on your basket.