Curly Cue Christmas Trees to Embroider

Christmas Tree pictures

I am in constant amazement with the brain and how it works.  At the age of 55, I am absolutely dependent on my “to do” lists (yes, plural). As the day progresses and new things want to wander into my brain, I have to rely on my reminder post it notes to keep what wanders in from wandering back out. (It has been stated that I do use post its as a decorating theme.)

 While I may not be able to remember what I did yesterday or what I need to do in ten minutes; I can clearly remember a Christmas card that I fell in love with some fifty years ago.    Glitz and glam ruled the decorating roost in the early 60’s.  Everything was either pearlized, flocked or glittered … or some modernized combination of the three.   The card that has had such a grand place in my memory was a pearlized green that was bordered by a frame of glittered holiday red.  The image at the center was a swirling, curling flocked and glittered white Christmas tree.  This is the tree that inspired the embroidered design that is being offered in this writing.

 I believe that most crafters have a common DNA code that makes us all upcycling, garage saling, multi – crafting stashers.  With that in mind, I believe that most crafters have the items needed to create either of these trees.  The items that I used were:

Background fabric – The burgundy red fabric was once a table cloth.  The blue fabric is a painted linen napkin (you know how you pick up a stack of napkins only to find that some have stains? Linen makes an excellent embroidery fabric and you can definitely dye over or wet paint over any stains)

Single side fusable lightweight interfacing

Carbon or transfer paper

Embroidery floss and needle – The green tree was embroidered in size 5 perle cotton and the white tree embroidered in 6 strands of embroidery floss

Assorted buttons, beads and charms to your liking.

Sewing thread, needle and glue and / or spray adhesive.

Masking or art tape

8 by 10 inch frame and optional 8 by 10 art canvas board (you can use cardboard cut to size, but I had a really good coupon that I needed to use before it expired, so I bought art board)

To create the trees;

Copy and resize the design as you like.

Back the desired fabric with the interfacing

Transfer the design to your fabric.  The dots and stars were my schematic of where I “thought” I wanted the charms … as you can see, I didn’t follow that schematic. 

Embroider the design.  I used a back stitch with the green perle cotton. The white tree needed a bit more “oomph,” so I used a split stitch.  After completing the embroidery, lay the fabric face down on a padded surface and lightly press.

Sew / glue on charms as desired.  Raid your button stash, jewelry finding stash, broken jewelry pile, ect.  Nothing is beyond the boundaries of the glitz that you can add to your tree.

Adhere to the art or card board with a thin spread of glue or with spray adhesive (which I prefer)  Cut until there is about 1 inch border of excess fabric. Fold over excess fabric and tape to back of board (I used an archival art tape)

Insert into frame.  Note that this will create a very thick piece and sliding it into some frames may take a bit of patience and creative finagling. 

Enjoy your lovely creation!

Christmas Tree Embroidery

Fashion Doll Size Chairs in Crochet

Fashion Doll Size Crochet Chairs

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 Finished size approx; 6 inches from top of chair to bottom of chair

                                      2 ¾ – 3 inches from seat to bottom of chair

                                      Seat diameter 3 inches

                                      Back diameter 3 inches

 

Materials Needed;

4ply WW yarn in color of choice and an accent color if desired

Size “H” (5 mm) crochet hook

2 – 3 inch (either purchased or made) plastic canvas round (one for seat base and one for back)

3 inch (count of 14 bars) 7 mesh plastic canvas – cut to circumference of 3 inch plastic canvas circle

Fiber Fill

Yarn Needle

Scissors (you might not want to use your good scissors to cut the plastic canvas)

Sewing Thread and long sewing needle (optional)

3 buttons (optional)

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Pattern / Instructions

 

Create Chair / seat base –

Position the plastic canvas strip along the edge of the plastic canvas round. With yarn and yarn needle, whip stitch long edge of strip to edge of round until the short end mesh meet. Cut off excess plastic canvas and whip stitch short ends of plastic canvas together.  Secure and cut yarn.

Stuff plastic canvas base with fiber fill.  You can better secure the fiber fill in place by taking some loose stitches across the base diameter with yarn.  Set base aside.

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Crochet Pattern for seat and base

Stitches used

Chain (ch)

Slip stitch (slp st)

Double Crochet (Dc)

Half Double Crochet (Hdc)

Treble Crochet (Tr)

Single Crochet (Sc)

Front Loops (FL)

 Special Notes;

There are many ways to begin a double crochet round or row. Traditionally, we are taught to begin with a ch 3. This beginning Chain acts as the 1st dc  with the second dc to be worked in the 2nd stitch.  This is an excellent beginning to a dc row or round. However, this method can also create a “gap” between the ch 3 and the next dc.  For this project, I began the dc rounds with a ch 2 and dc in the same stitch. The ch 2 does not count as a stitch, but it eliminates the gap perception.  Feel free to use any method of beginning the round that you prefer to work. Just make sure that the stitch count is consistent with the written pattern.

 At the edge of the seat, you will be instructed to ch 1 and turn the round (so the wrong side is facing you) Then you will be instructed to work the next round’s stitches around the post of the previous round’s hdc.  This method creates a very defined turn and edge to the seat. 

 With 4 ply WW yarn and “H” hook:

Make Magic Circle or Ch 3,

 Rnd 1,  Work 15 Dc in the magic circle (or in the 3rd chain from hook). Join to top of

              The beginning Dc with a slp st.  (15)  (snug up the magic circle)

 Rnd 2,  Work 2 Dc in each dc around. Join to top of beginning Dc with a Slp st.

              (30)

Rnd 3,  Ch 1, Work Hdc in the same stitch as joining and in each stitch around.

             Join to beginning Hdc with a slp st. (30)

Rnd 4,  Ch 1, Turn, (wrong side facing) Work Hdc around the post of the same

             Stitch as joining, Hdc around the post of each stitch around.  Join to

             Beginning Hdc with a slp st.  (30)

Rnd 5,  Dc in each stitch around. Join to beginning Dc with a slp st. (30)

Rnd 6,  Dc in each stitch around. Join to beginning Dc with a slp st.  (30)

Rnd 7,  Dc in the FL of each stitch around. Join to beginning Dc with a slp st. (30)

Cut and secure yarn. 

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To crochet chair base bottom; Repeat Rounds 1 through 3 of Chair seat. 

Cut and Secure yarn. 

 

Fit seat base over plastic canvas seat base.  *This will be a snug fit. But since most yarn has an inherent “stretch and relax” characteristic, (meaning it will stretch and grow bigger as it relaxes) the snug fit will help assure and nice, neat look upon completion.*  Line seat base bottom and pin to base if needed. Secure bottom to seat base sides by whip stitching or slp stitching last round stitches of bottom to last round stitches of base.  (if you are working stitch to stitch, you will have 30 stitches around)  Cut and secure yarn.  Weave in or bury ends in the fiber fill. 

 

Chair skirt.  *** Note you can complete the chair skirt prior to covering the plastic canvas.  If you do this, crochet with a looser tension to prevent a tighter fit. ***

Join yarn (either main color or an accent color) to an unused loop of round 7, Ch 3, Tr crochet in same stitch. Work 2 Tr in each stitch around.  Join to top of beginning Tr with a slp st.  (60) Cut and secure yarn. Weave in ends.

Create Chair Back

 Lightly cover a 3 inch plastic canvas round with a fiberfill layer. Lightly tack fiberfill in place as you did with the chair seat if desired.

 Crochet Pattern for Chair Back and Arms

 Back

Make 2 (for front and back)

 Make a magic circle or Ch 3,

Rnd 1, Work 15 Dc in the magic circle or in the 3rd ch of Ch 3.  Join to beginning

             Dc with a slp st.  (15)  (snug up magic circle)

Rnd 2,  Work 2 Dc in each stitch around. Join to beginning Dc with a slp st. (30)

Rnd 3,  Ch 1, Work a Sc in the same stitch as joining.  Work a Sc in each stitch

             around.  Join to beginning Sc with a slp st.  (30)

Cut and Secure yarn.

With right sides facing out, join front and back pieces together by slp stitching around. Insert the plastic canvas round before stitching closed.  Finish slp st closing and cut and secure yarn. 

 Arms

Make 4 (for front and back of 2 arms)

Make a magic circle or Ch 3.

Rnd 1, Work 15 Dc in the magic circle or in the 3rd ch of Ch 3. Join to beginning

             Dc with a slp st. (15) (snug up magic circle)

Rnd 2, Ch 1, Work a Sc in same stitch as joining, Work a Sc in each stitch around.

             Join to beginning Sc with a slp st.  (15) Cut and secure yarn.

With right sides facing out, slp stitch arm front to arm back, stuffing arm with fiberfill as you slp st.  Join to beginning slp st to close.  Cut and secure yarn.

 Finishing

With yarn needle and 1 strand yarn, whip stitch chair back to chair seat working through at least 5 stitches.  Cut and secure yarn. Weave in or bury ends in fiberfill

Align arms to seat and whip stitch in place.  Then attach arm sides to back with whip stitching.  Cut and Secure yarn. Weave in or bury ends in fiberfill.

 If desired, attach decorative buttons to center points of seat and backs with sewing thread and a long sewing needle. 

 

Karen Glasgow Follett cpr. 2014

 

Crochet I – Cord Curtain Tie Backs Tiebacks

tieback1 tieback2

Materials Needed

4 ply WW Yarn of choice (you will be working with 2 strand together)

“J / 10” crochet hook 6.00 MM

Tapestry or other large eye needle to weave in ends

Double point knitting needle or other stitch holder (optional)

Tape measure (optional)

 

Stitches Used

Chain (ch)

Slip Stitch (slp st)

 

I – cord basics

To create crochet I- Cord

Make a foundation chain or foundation row of stitches,

Insert hook into the chain or stitch next to the hook, pull up a loop

Leave loop on hook

Repeat this process across the foundation. Number of loops on the hook should equal the number of foundation chains or stitches (ie: foundation of 3 chains or stitches = 3 loops on the hook)

Do not turn (the “right” side of the work is always facing you. As you work the I-cord, you will see that the work curves to the back to create the cord effect)

Working from left to right, carefully remove the loops and place on a double point knitting needle, stitch holder, ect, until 1 loop is left on the hook.

Work a chain with that loop

Leaving that loop on the hook and working from right to left, work a chain in the next loop

Leave that loop on hook

Repeat this process until all loops have been worked as chains. This constitutes 1 row / round of I-cord. You should end each row / round with a consistent number of loops on your hook (ie: if you started with 3 loops – you should end with 3 loops)

 

I – cord has an inherent elasticity. Many tiebacks are 25 inches long. You may want to shorten the length of your I – Cord to accommodate this elasticity. (The tiebacks in the picture are 22 inches)

 

Pattern;

With 2 strands of yarn worked together, chain 8

Join to beginning chain with a slp st to form a ring

Work a slp st into each of the next 5 chains

(this creates the hanging loop)

Work a slp stitch into the 6th chain, insert hook into the next chain and draw up a loop (2 loops on hook) Insert hook into the next chain and pull of a loop (3 loops on hook)

(this creates the I-Cord foundation of 3 loops)

*Do Not turn your work. You have 3 loops (left, middle and right loop) on your hook

Carefully remove the left and the middle loop (to stitch holder)

Chain stitch the right loop,

Leaving the loop on your hook, insert hook into the middle loop and work a chain stitch,

Leaving the 2 loops on your hook, insert hook into the left loop and work a chain stitch,

You should have 3 loops on your hook*

Repeat from * to * until you have your desired length.

Bind off with yarn over and draw through 1 loop, yarn over and draw through 2 loops, yarn over and draw through 2 loops until you have 1 loop on your hook (3 stitches)

Chain 5 and join to 1st stitch of the bind off with a slp st.

Turn, Work a slp st into each of the 5 chains

(this creates the hanging loop)

Join to the 3rd stitch of the bind off with a slp st.

Cut and weave in ends.

 

Karen Glasgow Follett 2014

 

Collecting Vintage Needlework Kits

kitsCollecting Vintage Needlework Kits

 Ask any collector about their collection and in all probability, you will receive a

passionate discourse regarding the “whats,” the “whys,” and the “how – tos,” that are

 responsible for the initial awakening of their inner collector. 

 From any point that I can remember, I have loved most forms of needlework in an

 Observatory – isn’t that pretty to look at … I wonder how they did that … I would love to

 create that – manner. In the early 1970’s I received my first crewel embroidery kit.  That

 kit transformed me from an observer of needlework into a participator in needlework. 

 That first kit also awoke the inner collector in me.  Since that awakening, I have been an

enthusiastic amasser of vintage needlework kits.

 

Needlework collecting enjoys a devoted, but relatively small, audience.  This

 “small but devoted” status currently provides a favorable market that is reasonably

 balanced in affordable supply and demand.  Whether you search on an online global

 market or a local garage sale, you can still find gems that won’t make your wallet cringe. 

 Regardless of where you search, it is helpful to have a mapping set of guidelines that can

 help you navigate the collecting terrain.  As your gain experience in collecting, you will

 also gain expertise. But while you are experiencing the collecting learning curve, here are

 some initial guidelines to map your beginning collection:

 

 Stick with a price point.  Whether bidding online or perusing a local sale;

 know the comfortable price boundary and stick to it.

 Learn about the designers and manufacturers. There are some names that you will

 see with frequency. These names can be indicators of the kit’s style, era, intricacy and

 difficulty of design, and overall product quality. Depending on their current level of

 production, there are some names that could indicate current and future monetary value.

 

Question the plans and possibilities with the kit.  Will this kit be created, or

 collected or sold to fuel other purchases?  Can you take some creative license with the

 design and function of this kit?

 

Be picky when inspecting the kit’s condition.  This is particularly important for

 online purchases.  Regardless of any perceived standard of terminology, (i.e.

 mint, very good …) condition is still subjective  “to the eye” of the observer.  Using the

 kit’s packaging language as a starting guide; begin your inspection..  Has the kit been

 opened.  Are  all of the contents  present as packaged. Determine the condition of the

 thread, fabric and other supplies.  Ascertain the needle’s placement and the presence of

 any metal rust. Occasionally you will find a needle that has become rusted and affixed to

 the design area which could destroy a kit’s usability.  If the kit has been started, assess

 the quality of stitching.  If the stitches need to be removed, make sure that this “de-

 stitching” doesn’t affect the integrity of the fabric.  Inspect the subtle language of the

 package, which will include any tearing, soiling or clouding of the package exterior. This

 exterior damage may indicate that there is also damage to the interior contents.  

 

 Think “out of the original purpose box.”  Even kits with condition issues can

 occasionally be rescued and repurposed.  Kit contents can also be salvaged

 and repurposed for another kit, or project, or for supply “stash.”

 

Pay attention to what your nose already knows.  Aromas are great story tellers. 

 While some aromas can dissipate; many aromas will indicate a deeper problem which

 may never resolve.  A good rule of thumb to follow is, “if there is an aroma (including an

 intentional over perfuming) that catches your nose, then there is an issue that needs to

 catch your attention.”

 

Know when to say “no.”  Even a nicely priced kit is not always a good value. 

 Keep in mind that when you say “no” to an iffy kit, you trust your inner “knowing” that a

 better kit is just around the corner.

 

This final guideline is probably the most important of all of the mapping techniques. This

 guideline encourages you to make those purchases that to move you from creative

 observer to creative participator. Buy the kits that remind you of the “whos” the “whats”

 and the “whys” that initially stirred up your inner collector and inspired your collecting

 journey.

 

WC 709 CPR Karen Glasgow Follett 2014

Tree of Life Renewal Meditation Re – alignment with Source

Tree of Life Renewal Meditation

Vibrational Alignment

The writing of this piece is occurring at the ending of a calendar year.  As we approach this farewell, many people are talking about “releasing” the old, “releasing what hasn’t worked for them, and, in general, “releasing” the energy that has kept them from realizing their dreams and desires in this calendar year.

In addition to the affirmations of release, we can look at and begin to emote the affirmations of grateful recognition. Each experience, regardless of the judgment that we place on that experience, gifts us an element of nourishment that we can choose to bring forward.  Be it a piece of wisdom that we learned, or a depth of strength that we didn’t know we possessed; we recognize that we are the totality of our experiences.  Each experience adds to our growth.  By allowing our emotions to work through the experience, from the point of our base reaction to the point where there is an element of  gratitude, we allow ourselves a renewing alignment that transmutes the releasing noxious energy to the higher vibrational energy of nourishment.

We’ve expended a lot of energy over the last cycle (calendar year) and we are entitled to renourish.  We can take a step back.  We can breathe.  We can find that still point that is the beginning of all movement.  We can find our calm center which is our source of our Creator and of our creation.  As we renourish; we realign our energy with our Source (Divine) energetic vibration.

*** An anecdotal moment:  My father always quoted the saying of “He who the gods intend to destroy; they first bring to anger “(or insert any intense reactionary emotion of choice) While it took me well over 40 years to realize the wisdom of that quote, (and, in all honesty, it is still one of my learning curves) I will tell you that this quote is one of the wisest quotes of creation that I have encountered. Emotions are messengers. Emotions provide the fuel of our creation. This fueling source can bring us the creation of our bliss.  But overwhelmed and under – recognized emotions can create reactions instead of actions.  All too often reactions are the recreating actions of the old (and perhaps thought to be released) energy that may divert us from our self desired and soul intended flow. ***

*** Another moment: In this instance I used the word “realigned” instead of “aligned” with great intention.  Don’t forget, we come in to this incarnation “pre – aligned.”  We are Source (Divine) energy manifest in physical form.  We are the conduits to create Source on this planet.  And sometimes, we forget this. We begin to think of ourselves as “either / or.” We are either spiritual or we are physical.  And the fact is that we are both. When we remember this, we recognize that our alignment is there; we just want to recognize our alignment and allow ourselves to rejoice in our recognition.***

As we realign, we renew for our Highest Intent.  We welcome the energy of our Source to create our flourishing on this physical plane.  We truly honor and allow the “As above; So Below” principle of Divine Magical creation.

A Guided Script

Allow yourself to become comfortable. Allow your mind and body to calm.  With each breath that you take; breath in serenity and exhale out tension and anxiety.

Feel yourself (you don’t need to actually physically create this position) in the Goddess or Divine position.  Your arms extended above you, like branches of a tree.  Your feet comfortably apart and securely planted on the earth, like the roots of the tree.

With each breath that you take, you feel yourself connect with this “tree” position and perception.

You feel your feet securely cradled by the mother earth.  Roots extending from your sole energy vortices move through the nourishing earth with each breath that you take.

You take a deep breath in, affirming that you are nourished in mind, body and spirit. As you exhale you affirm that your roots are open and flowing.

Focus on the flow of your breath. With each breath that you take, you feel the abundant flow travel through you.  You feel your energy move with the gentle heart pulsations of this flow.

With each breath that you take, you feel your energy become more vibrant, more alive, more “universally one” as the flow moves through you from roots to trunk to outstretched branches and limbs.

You focus on the branches of your tree energy.  Each branch is in harmonious unity with Divine Spirit.  Take a deep breath in and affirm that Divinity guides you in a “voice” that is uplifting, loving and guiding. As you exhale, you affirm that you receive the flow of loving guidance.

As you focus on your branch energy, you feel the leaves begin to turn to the shades of autumn.  As these leaves change, you feel the Divine guidance that encourages you to allow their release.  With each breath that you take, you allow a flow of leaves to gently drift to the earth.  You feel each leaf composting into the earth to provide richness to the soil and to your nourishment.

***If you so led, you can address the leaves as the events, the situations and the energy that you are allowing to release***

All becomes quiet and still within your branches.  Each breath that you take welcomes the blanket of energy that cocoons you.  Each breath that you take allows you to become still and one with the current of Divine stillness. Take a deep breath in affirming that you are aligned with Divine. As you exhale, you affirm the flow from Divine Source to physical destiny.

Through the blanket, you feel the warmth of renewal.  The blanket melts away to reveal the buds that have been growing in the calm of Source creation. You feel the gentle vibration of Source energy as the warming rays touch each bud.  With each breath that you take, you feel the buds open.  You feel Source energy unfurl and come to full fruition.

Take a deep breath in, affirming your renewal.  As you exhale affirm the continuity of your vibrationally aligned flow.

***If you feel so led, allow each unfolding to reveal a Source message to you.***

With each breath that you take, allow yourself to become more mindful of your Divine Source in physical form.  Each breath allows you to ground, to center, to come back to here and now.  Take a deep breath in affirming your appreciation of the experiences that you co-create and as you exhale, affirm that you create in harmony as the Divine Source in physical form.

cpr 2013 Karen Glasgow Follett

Crochet Scrappy Log Cabin Throw / Afghan Pattern

Crochet Scrappy Log Cabin Throw / Afghan Directions / Pattern

 

Like many Multi crafters, I have a craft room that is filled to the brim with my hoarding of (ahem .. collection of) craft material.  Since my passion lies in the needle arts, my yarn stash quite impressively rivals many ancient monoliths.  (Yarn – henge is in my craft room)

 

This over amassing of yarn has caused me to restructure my priorities.  While I do deeply desire to be victorious in the “she who has the most – wins” competition; I also recognize the distinct possibility that I might fall victim to a yarn avalanche the next time that I open my yarn closet.  (but can’t you just imagine how great it would be to be rescued by an alpaca who has circular needles in his rescue kit?)

 

Of course the solution to this overcrowding is to find a project that will allow me to use the currently amassed skeins, partial skeins, balls and assorted tid bits of yarn henge.  And, of course, there is a plethora of patterns that will enable the yarn addict in this endeavor.  Many of these patterns range from the mile a minute strips to motifs, which are perfect for busting through stashes.  Unfortunately, as I perused the piles of patterns that call my craft room home, I did not find a pattern that gave me that “new project anticipatory tingle.”

 

Personally, I happen to love quilt designs.  I am NOT a good quilter, but I love to recreate quilt motifs and designs in crochet.  I DO NOT like to sew motifs.  I want a project that “grows as you go.”  So the log cabin seemed like a perfect project. 

 

As fortune would dictate; I found quilting log cabin patterns, knitted log cabin patterns and crocheted strip and seam log cabin patterns.  Among this pyramid of patterns was not one crochet “grow as you go” log cabin pattern.  My quick look on the internet yielded much the same results … I still couldn’t find THE Log cabin pattern.

 

Since necessity and impatience are the parents of design creation, I created my own pattern to meet my needs.   Please note that I am sure that these instructions are not new.  Their simplicity pretty much assures that they are a re-invention of a previous creation.

Also note that this creation is more of a set of directions instead of a traditional pattern.  Each crocheter can adjust the directions and create a pattern that can become a one of a kind personal creation.

 

Directions

 

It is my understanding that, in traditional log cabin quilts, the center square reflects the heart (or hearth) of the home.  I chose a burgundy red as my center.  Also like a traditional log cabin quilt, each subsequent square or strip is built around this central hearth.

 

Feel free to use the picture as a reference.

The center square began as a ch 10.

Rw 1, Sc in the 2nd ch from the hook and in each chain across (9sc)

Rws, 2 through 9, Ch 1, sc in each sc across.

Do NOT cut the yarn at the end of row 9, but join a new color (in the picture this is yellow)

 

(you can adjust the start square to any size that you choose. I prefer working in odd number stitch counts and subsequent odd number row counts) 

 

Turn center (red) square clockwise so you will be working along the side of the center square.

Rw 1, Ch 1, Sc in the side of each row of center square (9) (working over the yarn tails of the new and old yarn will decrease the tails that need to be woven in. Cut center square yarn color when desired)

Rws 2 through 9, Ch 1, Sc in each sc across.

Join new yarn  (in the picture this is green)

Turn work clockwise (so you will working along the side of the 2nd square and along the bottom of the center square)

Rw 1, Ch 1, sc in each stitch across (18 sc) (with the addition of each strip or block, you will increase the amount of stitches across in increments of the beginning stitch count.  Since I began with a 9 sc block, I will increase 9 stitches with the addition of each new block / strip.)

Rws 2 through 9, Ch 1, sc in each stitch across (18)

Join next color (rose in the picture)

 

Repeat the last sequence

Add next color (blue in the picture)

Turn Clockwise

Rw 1, Ch 1, Sc in each stitch across (27)

Rws 2 through 9, Ch 1, Sc in each sc across (27)

 

Repeat the sequences of directions as you add to your log cabin throw until you reach the size that you want.  Work border as desired. 

 

2013 Karen Glasgow Follett

 

 log cabin sample

Soul Scripting our Life Stories

We are powerful creators. We continually write our own life stories.  Each event of each day has been scripted by us.  Everything that we script is leading us to the discovery of our powerful and empowered inner creator.  Within this discovery we release the “writer’s blocks.”  We release our story that has us swimming against the current as we release our ego’s story telling to the authorship of the soul.  It is this authorship of the soul that synchronizes our energy with the universal flow.

Many of us will say that we “try” to move beyond the stories that no longer serve us.  We focus, and discuss the reasons why, the results of, and how we would love a better story.   As we tell our story, we want to recognize how much we are connected with this story.  Are we allowing the ego’s story telling to further affirm the story in our life, or are we allowing the soul to release the story and pen a new chapter or a new book for us to enjoy.

Is this a story that we have inherited from others when they have instilled their stories on us?  Is this a story where we are the firmly self identified Protagonists of the events?  Do we feel that there is a reason behind the story and we can’t move to the next chapter or book until we “figure the current story out?”  Do we feel a level of comfort with this story and its predictability?  Do we feel that this is the only book available to us and that there are no others in the universal library?

As you ask each question (or any other question that your soul offers*); focus on your emotional body.  Often, the soul speaks in terms of physical feelings and subsequent emotional reactions around the area of the solar plexus.   Sometimes the language of the soul speaks in terms of the visceral resistance of “no, that’s not me” or “no … followed by a lengthy self rationalization that will feel flimsy. Visceral soul language may materialize as feelings of physical release and of emotional relief.  Visceral Soul language can also be the “ah – ha” of revelation and excitement that is followed by synchronous life events and progress.   Allow yourself to answer the questions in a manner that serves your soul’s desire to author your story:

Take a deep breath in, Invite the assistance of your Divine Creator, Guides, Angels and Loved ones. Focus on the flow of your breathing.  Each breath that you take affirms your union with the universal Divine flow.  Allow this flow to enter deep into your body.  Each breath releasing the words and the intents of the stories that no longer serve you.

The healing, high vibrations of your Highest Source energies affirm that they are there for you and with you.  They affirm with you that you can release the stories to them and they will co – create the next writings of your life with you.

With each breath that you take, allow the stories to surface.

(Take a breath in)  If the story belongs to another person’s beliefs and values, allow yourself to close that book that was loaned to you and (exhale) release the book back to the universal bookshelf as “not yours.”

(Take a breath in) Recognize yourself as a Protagonist with the Highest Source Vibration you recognize yourself as infinite Source Creator and Infinite Source Creation. (Exhale)  Release the energy of past creation from past expectation.

(Take a breath in) Bad writing is bad writing.  It doesn’t need to be figured out or endured.  (Exhale) Close the book and allow yourself to feel the relief that you do not have to read through that again.

(Take a breath in) Sense that you are taking dictation or “notes” from the voice and wisdom of the Divine Creator. (Exhale) allow the feelings of warmth and comfort move through you knowing that you are being guided by the Divine.**

(Take a breath in) Close the book that no longer serves you, (Exhale) allow yourself to be among the infinite library of choices and creations.  Pick your choice of titles and begin “reading.”

With each breath that you take, you allow the stories to release to the Higher Source to be healed, reworded and released.  With each breath that you take, you herald in the blank page that allows you to write your story in the scripting of the Soul.

Take a deep breath in and as you exhale – affirm that you are co – writing your life in Soul Script.

Allow yourself to begin the practice of Soul Scripting each evening or each morning. (or anytime that you feel that you need to release and re-author and story in your life)  As you move with this, you will begin to notice that your writing feels good. Life’s events move in accordance to the intent and the emotion of your writing.  You will move in the flow of the universe and not struggling to swim against the current.

Footnotes

*The language of the soul does NOT include words or intents to humiliate you, hurt you, or include the woulda, shoulda, coulda’s that we may be used to hearing from our ego speak

**Our Divine Voice feels good to our heart.  It gives us direction that works and makes sense.  It is not Grandiose.  It is never unkind.  It will never direct us to do things that will harm us or others.  The Voice of Divine Source honors or right to free will and choice.

KGF 2013

Steampunk meets crochet with this Crochet Skeleton Key Pattern

Skeleton Keys

Crochet Skeleton Key Pattern

Materials Needed;

1 Ball of size 10 thread (you will work 2 strands together throughout the piece)

1 size “6” steel crochet hook

Needle to weave in ends

Choice of stiffener to shape piece

Rust proof pins to hold piece in place while being shaped

 

Stitches used;

Sl st – slip stitch

Sc – single crochet

Ch – chain

Dc – double crochet

 

Key Handle

Ch 13,

Taking care not to twist the chain, join to the beg ch with a sl st.

Ch 1 and sc in the same ch as joining

Work 1 sc in the next 2 chs,  Work 2 sc in the next 3 chs, Work 1 sc in the next 3 chs,

Work 2 sc in the next 3 chs, Work 1 sc in the last 2 chs.  Join to beg sc with a sl st. (19)

(do not cut thread, you will now begin working on the shaft of the key)

 

Key shaft

Loosely ch 22,

Turn, loosely sl st in the 2nd ch from the hook and in each ch across to key handle (21)

Skip the beg sc that is the base of the key shaft ch. 

Ch 1, sl st in the sc next to the skipped sc of the key handle.  Ch 1 and sl st in each sc around.  (19 sl st)

Ch 1,  sl st in the first unworked loop of the ch key shaft.  Sl st in the unworked loops of each ch across (21)

Turn, sl st in the first 2 sl st, ch 2, work 1 dc in the next 2 sl st, ch 2 and join to next sl st.  Cut thread and weave in ends.

*** These would have so many uses! You could use these for appliques on pillows, bags, shirts, etc.  You could use this as a pendant (you would probably want to include a couple of beads or something for weight) a key fob, a bookmark or you name it!***

 

Cpr Karen Glasgow Follett Dec 2012

 

 

Broomstick Lace Crochet Halo Scarf

 

Broomstick Lace Crochet Halo Scarf

Lace Created working in the Round

 

Materials;

2 Balls (175 yards / 160m – Net Wt 2.5 oz / 70 g) 4ply WW Yarn

Red Heart Boutique Eclipse in Storm Blue used for sample

Size “I” Crochet Hook

2 Size 35 Knitting Needles.

Tapestry needle to weave in ends

Scissors

Pattern Notes

The finished size is approx 42 inches around by 6 inches wide.  If you want the finished item longer, begin with a longer foundation row worked in multiples of 5 stitches.  If you want the finished item wider, just add additional rounds of lace.

Each round of broomstick lace is worked in 2 passes.  The forward pass places (loops) the yarn on the broomstick (needle), The return pass completes the round by crocheting 5 loops together (you work 5 sc in the middle of each 5 loop grouping).

You can either remove the loops from the needle as you crochet or you can remove all of the loops from both needles prior to the return pass.  Take care that you do not lose any loops. You can thread a piece of yarn through the “live loops” to ensure that they are not lost or dropped.

Typically you use only one knitting needle when working broomstick lace. Since you are working this project in the round, you will be using 2 needles. You will place approximately ½ the stitches on one needle and the other half on the other needle.  If you can find circular needles in the correct size, those work well too.

You do not turn the work.  The right side is the side facing you.  You will join each round to the beginning stitch with a sl st.

Pattern

With “I” hook, Ch 225.  Taking care not to twist the chain, join the chain tog with a sl st to form a circle.

Rnd 1, Ch 3 (this counts as the first dc through out the pattern) Dc in next ch and in each ch around.  Join to top of beg ch 3 with a sl st (225)

Rnd 2, Working the the BL of each stitch, complete the forward pass of the broomstick.  Return pass – remove 5 loops from the needle, hold tog, insert hook into the middle of the loops, yo, pull hook back through, Ch 1 (Work a chain 1 ONLY at the beginning of each return pass) work 5 sc in the middle of the 5 loops held tog.  Continue to works loops in groups of 5 held tog with 5 sc around (you will have 45 lace motifs) Join to beg sc with a sl st.

Rnds 3 – 8, Rpt Round 2.

Rnd 9,  Ch 3, dc in each the BL of each sc around.  Join to top of beg ch 3.

Cut and secure yarn, weave in ends.

cpr October 2012 Karen Glasgow Follett