The mood of a picture depends very much on the light in the picture and the light depends on the colors used. Your own mood, however, is often not entirely innocent. We often choose colors that are pleasant to us and maybe even convey our own mood . Sometimes we may even need certain color tones when painting because we have special associations or memories or because they are simply good for us at the moment. Blue areas tend to leave us alone because they cautiously go into the distance. With orange-red pictures, the room feels a few degrees warmer. With special, own color combinations we can very easily express our own style, because the color is the first thing that affects us when we look at a picture. But the type of paint application also influences the mood in the picture. Are the colored areas rather sharply delimited from each other or are they misty and soft? Are the colors very opaque or more transparent? And how strong are the contrasts? Little, like in a fog? Or strong, like in glaring sunlight with strong shadows? At the moment I am experimenting with new lighting situations in my pictures in order to depict interesting moods. Anyone who knows my work knows that I tend to work in intense colors. Nevertheless, I once dared an experiment and worked with colors that were strange to me. But more on that later. In this picture with a bitumen fill, I used naturalistic colors that are classic for a sea picture and have a rather cool color tone. The picture looks fresh and just as you would imagine in clear weather by the sea. The light-dark contrasts create tension, but otherwise the design is unspectacular. The mood is a little different in this example. Here, too, the colors are not expressively alienated. By using cloudy and pure colors, the atmosphere is a little more differentiated. The sky is worked in cloudy blue-gray and looks foggy and diffuse. The foreground is more intensely colored and therefore stands out more. The special focus, however, is on the horizon, which is given special attention through the use of fluorescent yellow, orange and pink tones. The yellow accents also look like they are being lit by the sun. This is how it could look on a hot, hazy, humid day when the sun’s rays push their way through the cloud cover in a few places. In order to create an evening mood and at the same time to focus on the sky, in this picture I have resorted to warmer and yet bright colors, which I have distorted in many layers of cloudy over the sky. Due to the pink-yellow part, the clouds shine very intensely and this special mood is reflected in the colors of the horizon. Here is my experiment: Did you think this picture was not from me? I definitely felt the same way when I painted it. 😉The colors are not exactly typical for me, but I still wanted to demonstrate to you what the effect of such a color scheme is. It took a bit of effort, I’ll admit it. Only the contrast between the light, fresh light blue and the cloudy gray-beige tones I couldn’t help but breathe at least some tension and life into the picture. The picture would have looked even more diffuse and foggy if I hadn’t set the Payne’s gray accents on the horizon. This is how I imagine a cloudy wintry day at the sea. My favorite with a spectacular mood is this picture. In terms of color, it totally suits me and I love this mood and radiance that seems to glow from within. The warm colors are sometimes purer, sometimes broken and are enhanced with cool yellow. I achieved the luminosity through thinly glazed layers with neon pink and neon orange. Another contrast and focus is the dark area with umber colored ink on the horizon. This is how I imagine a sun-drenched landscape in the south. How about working consciously with different moods in the picture? It’s very easy: for example, intensify the light and dark areas in the image. In this way, the contrast diverges more strongly and it looks like light reflections next to shadow areas. If you now color the light areas with different yellow or warm colors and the shade tones are not black or gray, for example, but purple or in cooler colors, then you increase the mood. You would also have an increase through the complementary contrast and through the yellow tone a beautiful light. Also try setting the light tones a few tones lighter and using cooler and warmer light colors. You can detach yourself from the naturalistic depiction and experiment with the color tones, regardless of whether you are working in an objective or abstract way. You will see, your pictures become livelier and more expressive. Have fun with all experiments, let the color flow
Do you feel the same way: When you see a nicely sorted collection of acrylic paints in an art supply store, your heart rises? A box of colored pencils or chalks in all colors makes your heart beat faster? The earthy shades of the ocher quarries in the French Roussillion put you in a color frenzy? Special evening sky moods make you rave about? A wonderful set with pigments will set off a head cinema, what could you paint with it? Clear case: you are infected with the color virus like me. Sometimes I just want to own and guard these special materials like the apple of my eye. For example the XL box of water-soluble oil pastels that I just wanted to look at and not use because they were so expensive. Or the wooden box with the pigment jars bought directly in the south of France to take the beautiful colors home with you. I suppose your heart beats for color too, otherwise you wouldn’t have ended up here with this article. But today I would like to look at color from very different angles. Color perception From a physiological point of view, color is the reception of stimuli from the eye’s cone systems. These stimuli are first converted into opposing colors . In the brain , these arousal patterns are interpretable as colors t. From a psychological point of view, color is not only the processing of external sensory stimuli by the retina or brain function, but can also be viewed as a product of the subconscious (nervous system) and as stored information. Source: Bildsprache 1, Kerner and Duroy, p. 112 Scientists have been trying to fathom and analyze the phenomenon of color vision for centuries. The research of Isaac Newton (1643-1727) forms the basis for our understanding of color today. The English doctor Thomas Young (1773 – 18299 was the first to recognize that color is a sensation . Source: Imagery 1, Kerner and Duroy Color systems There were already attempts to organize the colors in systems in antiquity. The poet (and natural scientist) Johann Wolfgang Goethe (1749-1832) also studied the phenomenon of color for a long time. Among other things, he dealt with the “sensual and moral effect of colors. So he classified yellow in the category “serious / dignified, warm” as cheerful and cheerful, or blue in the category gracious / grace, dark as receding, pleasant and empty. Johannes Itten (1888-1967) worked as a master at the Bauhaus and his theory of the 7 color contrasts is taught to this day. Harald Küppers (born 1926) developed another color concept . It was of the opinion that in Itten’s color wheel, the shades designated as basic colors are not really basic colors, but mixed shades. Incidentally, I also agree. All other shades can be mixed from the primary colors primary cyan, primary yellow and primary magenta . Not from Itten’s basic shade of red, as this color consists of yellow and magenta. Source: Duden Art – Basic Knowledge School In the past centuries, however, color often had an additional symbolic value. This symbolism can have a completely different meaning in other cultures and can be understood differently. The meanings have also changed over time: For example, red was seen as the color of the devil in the Middle Ages and green was the color of love. The effect and the symbolic meaning of the colors: Source: Duden Art – Basic Knowledge School Yellow looks warm, cheerful, extroverted and the symbolic meaning can be friendliness and optimism as well as recklessness, envy and jealousy. Orange looks exotic, lively and active and stands for joy, liveliness and fun. Red is very exciting, powerful and sometimes eccentric and symbolizes power, passion, love, but also aggressiveness and fire. Violet appears introverted, extravagant, melancholy and often stands for power, theology, but also vanity or renunciation. Blue has a calming, serious, longing, cold and distant effect. It stands for harmony, cleanliness, calm and passivity and peace. Green has a calming, fresh, natural, cheerful and young effect. The symbolic meaning is freshness, relaxation, hope, nature but also immaturity. White appears pure, empty, light and sometimes sterile and stands for purity, order, lightness and innocence. Black looks pessimistic and sad but also mysterious, solemn and serious. It stands for grief, end, hatred and misfortune The how The different art styles in painting are characterized by their very special and in some cases pioneering use of colors. In Impressionism, the fleeting and rapidly changing impression of the moment is captured by painting. The light of the moment and the resulting colors are put together in fleeting and sometimes shimmering brushstrokes and with a lively style. At the beginning of the 20th century, expressionism increased the expression of color by painting . The shapes are simplified, in some cases almost flat. Strong, pure and contrasting colors become the absolute expression of emotions. The color is used separately from the naturalistic rendering and is intended to create a suggestive effect. Color as material Initially only used as a coating and varnishing material in industry, acrylic paint has been used by artists as a versatile material since the mid-1950s . To this day, acrylic paint has a special charm, because the forms of expression can be more diverse than with hardly any other painting material. How is the colored area set, with brushwork ? Rich in shape and contrast or with a soft transition ? With structure (materials) and impasto relief ? Or light and translucent? This has an effect on the expression in terms of mood or can be used to create a color or aerial perspective (pure, bright warm colors are assigned to the foreground, everything behind is bluish, grayish, lighter ). The painting tools are also important for the specific, individual expression in the picture. Finally, two more examples that illustrate how the choice of color tones give the picture a completely different message. In his book “Thinking Like an Artist” Will Grompertz describes how the dejected and melancholy Picasso began to immerse his pictures in a mysterious blue color tone in 1901 , thereby shifting the mood of his pictures towards sentimental. On the one hand, this now matched his emotional state perfectly; on the other hand, it was the beginning of his “blue period” which made him known as “Picasso” and brought about the breakthrough. A wonderful article is devoted to the color blue in issue 4-18 of the magazine “Einfach.sein” . In “53 Shades of Blue” it is, among other things, attempts to make the blue of the sky measurable, but also some emotional worlds are hidden behind the color. “There is boundless longing in blue” it says there. The artist Andy Warhol is also concerned with the effect of the color blue (compared to red), so in simply. sein to read. By choosing the color of the background, he made one and the same woman portrait appear completely different. On the red ground on the woman THAT CONDITION dynamic / self-confident , on a blue ground , however,dreamy / wistful / serious . In process-oriented work, this means for us to pause and see HOW the spontaneously chosen colors work . Material as such, sensory perception or symbolic medium. No matter. In addition to all the theoretical approaches, color breathes life into artistic work and is very practical for every artist as a means of transporting their own handwriting . The possibilities and color combinations are inexhaustible. How about leaving the old paths for once and daring to try new colors in order to observe how the expression in the picture changes as a result? Painting remains an adventure that is always fascinating. Have fun with all experiments, let the color flow,
Often people come to my courses who want to learn to paint more freely . You want to loosen up and get to the image results with more ease . They have to function in everyday life through work and family and are therefore used to the mind taking the lead and spreading out so much that there is no place for intuition. Lately I have been reading more often about “ gut feeling ”, which ideally is placed next to the mind. Your gut feeling can help you to make decisions in a flash, without your mind weighing all the information for hours. In painting, it often doesn’t help you if you’re just in the “head”. Why? Even if you have mastered all the compositional rules perfectly, the picture may still lack the lightness, the specific swing or the disturbing factor that makes the whole thing really lively and individual. Often I only find pictures interesting when the rules of composition are turned a little upside down. The gut feeling can develop from the experience . In my opinion, it is good if the knowledge slides down a floor and you are more likely to “ feel ” what is to come next. You are then able to play freely with these rules and gain ease, but also your own clarity , because you do not cling to the rules of composition and bite into them. How do you get out of the mind into the feeling, into your intuition? It is a good idea to open all your senses while painting: To really look carefully is an art that strengthens your perception. But also the other senses like hearing, taste, smell, feeling can help you to work less from the mind. Now you might be wondering what this is about now? Why can hearing be important for painters? I think all of this is good for perceiving more sensitively. There are people who take in their information primarily with their eyes, but there are also people who are auditory-oriented. Others have to feel something to feel what’s going on with it. So: what does it sound like when the paint is warped on the canvas? Does the brush rustle? How does the material you work with smell? Do you feel the pressure with which you guide your painting tool and how does it feel in your hand? To expand your possibilities, it is great if the less developed senses have something to do. And because “tasting” is really difficult when painting, there is a delicious lunch in the studio during all-day courses that stimulates all the senses🙂 Linking the left and right hemispheres of the brain Even if scientists do not agree, I am convinced that by activating both hemispheres of the brain, you can be holistically creative. Among other things , the left hemisphere should be responsible for the rational handling of tasks. Logical skills, numbers, language, facts are ascribed to her. She has analytical tendencies and likes order. The right half of the brain is more about fantasy, rhythm and feelings. It should be spontaneous, creative, intuitive and visual and also likes chaos. By networking the two halves, you can benefit from both sides. This can be done, for example, by working with both hands, for example with 2 pens in the right and left hand to draw in yourself (also crosswise). You can also try to approach tasks differently than you are used to: e.g. using your untrained hand to paint or draw. Then you also train the less pronounced half of the brain. I am a person of movement. Although I also like “lying down” in all its variations (on the sofa, in the hammock, in bed, on the beach), I often only manage to change perspective through movement. I can also relax better through movement than through absolute rest. In the resting position, the thoughts circle in my head all the more, but through the movement I feel my body and the mind is calm ! Try not to just sit or stand in one spot during the painting process. Get moving, go around the table or easel, or put the picture on the floor so you can work with more momentum . You will see how the expression in the picture will change. Can you only work when you feel like it or would it be helpful if you look for like-minded people with whom you get together too regularly and stick with it, because the communal experience in the group inspires you? Or is it better when you have peace and quiet, are alone and you can concentrate fully on yourself? Try out how this aspect affects your painting. How does the room have to be so that you feel comfortable and you get into a good painting mood? Do you have to cover up or make space to work undisturbed ? How must the noises be like the light? Does music inspire you or do fragrances open your senses? All of this can help you let the thinking fade into the background for a brief moment. Stress and too little time kill creativity, as does too strong an inner critic and expectation pressure (also that of other people). Likewise distraction. Switch the phone to quiet when you go to the studio so that you can really get involved in the ” feeling “! In one of my last week’s courses I had a participant whose intellect first wanted to ” understand ” the further procedure in the picture and who thought many, many steps in advance. After a while the saying came: “I’ll just do it!” Then I knew she was ready to put her mind back a little and dare to venture into the unknown and the unexpected . And I was allowed to accompany you in this important step ! Have fun with all experiments, let the color flow
I am often asked that and I had already told you in one of the last blog articles that I don’t pay so much attention to the edges of my work. However, there are different views and options, which I will briefly explain to you below. 1. You leave the edges as they are . It can also be seen in the large art houses: the traces of work that arise in the painting process can be found on the edge of the picture . Running tracks and splashes are therefore desirable in this case. I think this is an interesting option, it sometimes gives the viewer an insight into how the picture was created. 2. You consciously work in the edges . This is particularly recommended for deeper stretcher frames (XL frame strips) or for picture boards (Casani boxes). I drag all colored areas, lines or collage paper around the corner. The edge is treated like the front of the picture. By incorporating the wide picture borders, I came up with the idea of working on cubes in order to bring the design into three dimensions. 3. You draw at least the color tones around the edge of the picture, a similar color scheme is enough . But since I work the pictures in many layers, I don’t know what the final color will look like until the very end. It is therefore advisable to wait until the work is completely finished, otherwise you will be more concerned with the edge than with the actual motif. 4. You tape off the edge. I’ve really never done that before, but I’ve seen it many times with participants. That way, the edge remains sparkling clean, of course , but looks like a foreign body depending on where the picture is hanging. This can work well on white walls, but less so on colored walls. When viewed from the side, the white border quickly becomes an unwanted focal point. 4. You draw a dark color from the edge to just over the front edge of the picture. This then works like a frame and a bit decorative. The dark edge gives the picture a hold and looks immediately refined. I have seen this with some colleagues. This can make sense, especially with abstract structural images, because the edge then appears calm. 5. You choose a frame, for example a shadow gap frame . Admittedly, that is simply too expensive for me. Since I paint a lot, I sell more often and I rearrange my work at home at least as often, it doesn’t make sense to frame the pictures every time. At times I would have to store them very carefully. But if you really have a great job that finds its final place, a suitable framing can increase the effect of the picture enormously. What are you doing with the edges Do you have options that I haven’t mentioned yet? I am very happy about your comments, enjoy all experiments, let the color flow
Paint relaxed and easy A few years ago I worked with a lot of material in my pictures. Structural compounds and pastes, bitumen, marble waste and thick rusty surfaces. Gladly materials with a “life of their own”. However, thick layers of material often appear heavy. But that’s not all. It also depends on the painting how the design looks in your picture. My work has changed over the years, and its appearance has become lighter and lighter. At first unconsciously, then consciously used. I still enjoy working in different techniques and with a wide variety of materials. Often times, however, a brush, paint and a few pens are enough for me today. What is important for pictures to radiate lightness and looseness? 1. Transparencies Perhaps it is because I have mainly done watercolors for many years, but I also like to work diluted with acrylic paint. I let the paint run and flow, using liquid Indian ink so that the layers of paint run into one another naturally. They result in transparent, shimmering surfaces. Transparencies also bring depth into the picture. You can also work translucent with undiluted acrylic paint, e.g. B. with a linoleum roller. In this way you can create overlays in the picture, ie mix large and small shapes and use them stacked on top of each other. 2. Loose brushwork A loose brushstroke contributes significantly to the lightness of the picture. In doing so, I always try to find out how much unrest the picture can have. I also combine the structured area with a lot of brush marks with very calm elements, with little noticeable brush marks. 3. Play of lines An airy play of lines brings a lot of lightness into the picture, especially when the lines are delicate or sometimes thicker and thinner. It is also a way of enhancing the contrasts in your picture. 4. Organic, naturally created shapes A geometrical representation is constructed in the vast majority of cases and has a more uncomplicated effect. That’s why I use organic shapes that are created. Either through painterly and “intuitive brush swing” or through techniques in which the forms arise naturally, such as. B. pourings or washouts. 5. Dynamic arrangement Look for less static arrangements, but also work with diagonals, i.e. not only use vertical and horizontal arrangements. You can achieve a different effect just by placing the elements. 6. Coloring Last but not least, the coloring is important, whether your picture looks light or heavy. Powdery pastel tones or lightened, mixed colors have a lighter effect than pure colors, which are more striking. Ultimately, however, it is also a question of personality, with which image design options you feel comfortable. Everyone has their own preferences. For me it is the case that the reduction of materials leaves more and more space for my own painterly handwriting. It slows me down less, but lets the images emerge with ease. That can be seen and felt. You can find more about lightness in the picture and other rules of composition in my new ebook: Composition, playing with color, shape and contrast. Have fun with all experiments.
Small things, big impact! As you read the headline of this article, you might think: That too. Now she’s also adding her mustard on this subject. Especially since sustainability is used in all sorts of sensible and nonsensical contexts and is sometimes misused to promote advertising. It’s not that I’m an environmental activist. And there are a few things I could do about myself. In fact, the best thing would be to forego creative work entirely. But that is definitely not possible. People have always felt the need to express themselves artistically. And there are definitely different forms, if I wasn’t allowed to paint, draw or be creative, I would wither. So this is not an option. Nevertheless, my perspective has changed over the years. I’m looking for solutions how I can work creatively, but still not produce tons of unnecessary garbage. But everyone has to decide for themselves how the priorities are set. Sometimes there are small things that don’t hurt, but in the long run and in large measure they have an effect. Here are a few of those little things that I practice to reduce the junk Disposable gloves, Zewas or paper plates I hardly ever use such things. Washing hands, old tea towels, old T-shirts or empty plastic packaging that are already there anyway also serve the purpose and can be used several times. I don’t need a fresh plate every time, a sturdy cover made from wall paints or acrylic binders is very durable and can also be used with water-based glazes without softening. An old glass or plexiglass plate is also great. If the disposable cup is frowned upon, why not the disposable, palette, cardboard plate too? Use existing tools or misuse them You don’t always need the very best artist quality, you can also use existing tools for your painting. Dish brushes, rubber squeegees from the hardware store or pot sponges can withstand a long time. You can prime your pictures with remnants of white wall paint. A mixture of dish soap and sunflower oil can replace the solvent for your oil paint. Work with surfaces that can be revised Since I’ve been an artist for many years, I have a lot of painted canvases. A very large amount, really. And for some time now, I have rarely used a completely fresh canvas. In the majority of cases I recycle old pictures. Pictures that are outdated because I am at a different point in my development or pictures that I have never really worked out anything new and which are a repetition of earlier work. I can let such pictures go again and form the basis of a new design. Among other things, because I often over-paint the old pictures, I hardly ever varnish my work. It is difficult to get an absorbent primer back on a very smooth and sealed surface. Keeping the paint moist for the next day of painting I need a lot of paint for large canvases. But sometimes it’s hard to tell how much. Sometimes I put the paint directly on the canvas, then I can save myself the detour via the palette. If I have leftovers on the palette, I wrap them with the packaging film from the freshly bought canvases (mostly those of my course participants). If I can’t paint for a long time, I spray a little water over it with the spray bottle. The acrylic paint will last for a few days. Should I still have leftovers that I need to rinse off, I first remove most of the paint with an old rag or dirty paper before cleaning the palette. This means that less acrylic paint ends up in the sink. Maintaining materials well Unfortunately, many artist’s brushes no longer have the long service life they used to have, these are my experiences. But if you handle your material well, you will definitely benefit from it for longer. When I wash the brushes (which I usually only do at the end of the painting session, as I work wet on wet with the different shades) I then place them on an old terry towel to dry. I don’t put them in a jar, otherwise the moisture will pull into the clamp and the wood in it may swell. The brush hairs fall out quickly and the brush becomes unusable. Now and then painting on paper For me a playground: Working on paper. We use less material than when using stretcher frames and it takes up less space to store the finished pictures. In addition, you can let off steam on paper, because it is “only” paper. You can cut it wonderfully to change the composition or cut it into pieces to make cards, bookmarks, etc. out of it (if it doesn’t seem to work as a whole). You can also later integrate it into acrylic paintings. Collect materials and include them in collages Some participants bring real treasure chests with them: The collections of special papers, old documents or newspaper clippings are great to use in collages. I also enjoy self-made sketches twice: once when I draw them and a second time when they find a place in a picture. Patterned or structured fabrics can also be worked in perfectly. You can make it yourself and only touch it if necessary.You can use natural materials with acrylic binders (or white wall paint, if the structural compound should be white) to make the structure yourself: sand, ash or colored earths are structure and first coloring at the same time. And because you only do that when you need these substrates, nothing will go bad or firm. I am happy about everything that gets a second life! Have you already thought about this topic and do you have any further tips for me? Then I look forward to your comment! Have fun with all experiments, let the color flow,
How do you actually mix skin tones? The road to my current range has been a long one – 12 years to be precise. Since I started painting faces until today. That implies that my palette is constantly changing – but it’s relatively solidified now. How it all started: I somehow mixed up my first faces in terms of color purely intuitively and without much background knowledge. The finished color “skin color” played a large part in this. Otherwise, I’ve tried this and that. I was very astonished when I was pointed out in a painting course that purple and green are essential color components of a face. I hadn’t noticed that myself until then, but then discovered it for myself and worked for a while with various green and purple colored tubes. The turning point: At some point I was told that the first thing I had to do was delete the color “skin color” from the range. I started mixing my skin color myself and found that the results looked much more natural. This opened up a whole new world for me and I began to deal more technically with mixing colors. I quickly realized that purple and green no longer had to land directly on the canvas from the tube, but only mixed or mixed in. What is the advantage of mixing over the pure colors from the tube?Why should I mix a purple instead of buying a purple directly? Well, the crucial difference is that the mixed colors also get along much better with each other. If I take a certain shade of purple directly from the tube, it will only stay purple until it is blurred into another color, and then it usually suddenly looks completely different, sometimes even dirty. But if I mix a purple from blue and red and this blue is also part of my mixed brown or gray that I paint, then the transitions when painting become softer and more natural and do not look dirty. The originally mixed purple shade is retained even longer, at first it simply becomes lighter or darker. Also, I don’t always have to completely clean the brush every now and then, My palette , which I am now presenting, is therefore always only the starting point for a painting session. As soon as the first brushstrokes are made, more and more colors are mixed wildly. Colors straight from the tube come in very small blobs on the left edge – these colors are usually only mixed and rarely applied directly! They can (more rarely) either simply be mixed with titanium white or (more often) in the color mixtures suggested below: cadmium yellow light, cadmium orange, cadmium red light, alizarin madder, ultramarine blue, sap green, ocher yellow, permanent green dark. At the very top, I press a very thick blob of titanium white onto the palette as this is an essential color that I need all the time. Now the first colors are mixed and come to the right edge: Titanium white + cadmium orange + ocher yellow> skin color Cadmium orange + ultramarine blue> medium brown Cadmium red light + ultramarine blue> brown Cadmium red light + ultramarine blue + permanent green dark> dark brown Cadmium red light + 2-3 parts ultramarine blue + permanent green dark> anthracite Alizarin madder + ultramarine blue> violet In the second row from the right I mix each of these color combinations from the very right row with a shot of titanium white in a lighter and more pastel variant. As you can see, cadmium yellow and sap green are not directly mixed. I usually only use them sparingly later and for certain accentuations. The colors ivory black, green umber and sienna brown at the bottom literally only lead a shadowy existence and can be used carefully here and there for shading. But they are often not necessary at all. Except: The ivory black always looks good in the pupils of the eyes. Incidentally, the suggested mixtures are suitable for all skin types!
Market bags are trending and I love this macrame version of it. The slightly thicker macrame thread makes the market bag more stable than the crocheted version and of course the macrame look is just super cool … Market bags are totally trendy right now, the look is somehow light and summery and a bit retro. This DIY macrame market bag is quickly knotted and is somewhat more stable than a crocheted market bag due to the somewhat thicker macrame cotton ropes. I really like the macrame look for the bag and am thinking of trying a version with thinner thread and a knotted shoulder strap … what do you think? DIY MACRAME HANDBAG INSTRUCTIONS The macrame handbag is actually super simple because it only consists of square knots. I have already explained the basics in the macrame lamp video . So if you want to take a closer look at it again, please stop by again. MATERIALS For a DIY macrame handbag you need the following materials: Straw handbag Raffia Embroidery needle small scissors NOTE: Macrame yarn varies greatly in thickness, so it is best to have a look at it beforehand or order the same 😉 TIPS & TRICKS 1. Cut macrame ropes – You need 10 cotton ropes of 1.20cm each, i.e. 20 cuts 2. Loop cotton ropes around the rings – take 10 of the ropes in half and loop them around the ring. Then hang up the rings somewhere to knot. 3. Tie square knots – The first row of square knots can now be set with even spacing. If you want to take a closer look at it, check out the video or the illustrated version in the macrame lamp blog post. 4th Rows 2-5 knots – For all further rows, we leave out the outer knots, which we need to connect the two sides of the bag evenly with each other at the end. This creates a knotted triangle for both rignes down to a knot in the middle. 5. Putting the sides together – hang the rings side by side and fill in the missing knots. After the first row there are 2 threads over on both sides, which together again form a square knot. In the third row 2 nodes can be added, etc. Then fold over and connect the two sides on the other side in the same way. 6. Bottom knot – The macrame market bag can now be finished in different ways. Often the remaining cords are simply tied together. I put another row on top and then laid the final row flat on the floor and knotted ropes from the front and back to form square knots.
I finally managed to prepare a few wedding memories and turned a few pictures into a photo cube. I think a photo cube is such a nice idea whether as a gift or as your own memento … It’s such a thing with wedding memories … after all the hustle and bustle of the wedding, you get the pictures and are really happy at first. The pictures are beautiful and are first sent around, then you print out a few and send them with thank you cards … and then you make a book … sometime … if you have time … or finally print a large picture for the wall in the Hallway … or the living room chest of drawers. So that you can get the pictures in your hand a little more often, in the truest sense of the word, I thought of something else and stuck the pictures on a photo cube. The cube can be folded down infinitely and is a welcome distraction and decoration on every desk. That’s how you keep it in your hand every now and then, play around with it and remember that beautiful day. Making the cube is not difficult at all. The 8 wooden cubes are connected with adhesive strips and it almost automatically emerges on which surfaces the pictures are then to be attached. Once you have glued the cubes together according to the instructions, you actually only have to choose a few nice pictures. I printed out the pictures on photo paper to get a chic look. DIY GIFT IDEA – MAKE YOUR OWN PHOTOCUBE MATERIALS For the photo cube, you need the following materials. Wooden cube 3×3 cm UHU glue stick Adhesive tape or masking tape TIP: A wooden dice game is also a wonderful gift idea for friends and does not necessarily have to be covered with wedding memories. Looking back at the most beautiful moments in recent years is also a wonderful idea for a memory cube. TIPS & TRICKS 1. Prepare the dice – 8 dice are required for a photo dice. You start by gluing the wooden cubes together in groups of 2 with a piece of masking tape. Simply place 2 cubes next to each other and glue one side together, fold this side down and fix the same edge from the other side again so that the cubes are connected to each other on both sides. We do this with all 4 pairs of two. 2. Place dice – All 8 dice are placed flat next to each other in their groups of 2. For the two outer ones the tape points upwards, for the two inner ones outwards. 3. Turn the cube over and fix it at the back – the dice are now fixed again at the back. To do this, take all the cubes together and turn them around. The two pairs lying next to each other are now connected to each other on the back with a piece of tape. 4th Fix the sides of the photo cube – the last step is to fix the sides by folding up the two cubes on the right and left and connecting the side cubes from top to bottom. 5. Glue pictures – Glue pictures with the UHU glue stick. We start with the 2×2 area that is on top after putting the cubes together. The cubes are 3cm wide, so the pictures can be printed out in the right size. You need 4 pictures of 8x4cm and 4 pictures of 4×4 cm. If in doubt, just print a bit larger and place, mark and cut out the cubes. 6th Gradually unfold the cube and add pictures – unfold the cube to the right and left and add a picture to the areas of the 2×4 cubes. If you go forward little by little and fold the cube further and further, it automatically results which surfaces have to be covered. It is best to cut the pictures to size beforehand so that the tapes that connect the cubes are not cut. 7th Glue the sides – gradually coat all sides of the cube with UHU glue stick and add the prepared images. Have you prepared your wedding memories nicely? I like the idea of the cube that keeps falling into your hands. As a desk decoration, it is not kitsch and simply a somewhat different souvenir. This article was created in collaboration with UHU.
The first cool days always have a very special flair, everyone is back from vacation, everyone in the office can be reached again and you realize that it’s getting dark again pretty early. I love these days because somehow they bring a cool head and the feeling of a new beginning. This weekend I spent highly motivated to devastate the entire apartment, of course everything under the guise of late spring cleaning. Because while I admire a minimalist lifestyle with others, I keep collecting these subjects with stuff – and there are really ONLY things that you really need. That’s why today I have my tips for better organization, namely the tips for life that I have in mind for this autumn. The DIY for the embroidered postcards with all my tips and tricks as always can be found below, so a reward, so to speak, to give the actually minimalist white corner in the hallway a little splash of color. 😉 The belongings in cupboards and drawers – finally really clearing out – and with it my REALLY! When I open my drawers, I actually only find things that are really needed or that are perhaps very useful, for example sunscreen with sun protection factor 50 in a small size. You absolutely need it when your favorite brand’s little sun cream is empty and you only travel with hand luggage, for example to a sunny country over the weekend and if you don’t want to get tan and don’t want to get any vitamin D … could be. This is of course difficult, because you don’t want to be wasteful either, but especially with cosmetics you should just throw away things that are good and maybe also expensive but that you REALLY just don’t use. E-mails – once the apartment has been cleaned out, you usually stop, but what often saps a lot of energy these days is your own e-mail inbox. Since I’m registered for pretty much every newsletter that sounded interesting somehow, I have a newsletter mailbox, one that doesn’t distract me and that I only check every few days. What has slipped through lately is updated every day and all e-mails in the mailbox are processed. Eating – The unhealthy habits somehow always become naturalized faster than the good ones … the vanilla ice cream in coffee in the summer months, for example, I really didn’t need 2 coffee breaks to get used to it. Just to look again at which unhealthy habits can be replaced by healthier ones is certainly a good idea from time to time. Friends – Sounds stupid, but it’s true, you just have acquaintances that are not good for you. The colleague, for example, who actually only gossips during the coffee break. Just reduce the frequency of coffee breaks or invite a couple of happy colleagues to do so. Probably the final point in such a listing should be, “this is how you keep order” but I think that’s a whole other chapter. It feels good to tidy up, but at the latest when you have desperately searched for the mobile phone three times, which you have put in the drawer in the tidying up frenzy, or the bill that was filed in a folder before it was transferred, you realize that a little more Order is definitely good, but maybe you shouldn’t overdo it – you just need a bit of creative chaos. (Should my friend read this paragraph: Honey, unfortunately that does not apply to you, you can NEVER create enough order.) These postcards were part of a great black and white calendar from 2015, which of course is still in the drawer because the postcards are so beautiful. However, as part of my clean-up campaign, I decided on my favorite postcards, separated them out ALTHOUGH the calendar had super nice slogans printed over them, and some of them were embroidered in a beautiful color. As always, here are my tips, tricks and lessons learned: Material postcards: The postcards in black and white are of course practical, but printing out an old picture in black and white is also a good idea. Embroidery thread: The embroidery thread I had ordered actually make the Freundschaftsbändchen me, unfortunately it was me then the quality is not good enough but something like it enough perfectly embroidery needles: I embroidery needles used a thicker in size 21 for preparing the holes, and a thinner 19 to embroider the thread. Pad: It is best to take a piece of cardboard or another pad that can break. Finding shapes and piercing Of course you can let off steam creatively with something like this, but you don’t have to. You can also just look what recurring shapes are and copy them, I think that looks very cool. It is best to prick the shape with the thicker needle, making sure not to put the holes too close together so that the cardboard does not tear. Embroidery Now it’s time to color in, the light colors naturally look best on a dark background, the dark on a light one. Have fun, loved ones, doing handicrafts, cleaning up and mucking out and making plans for autumn.