Learn to make creativity a daily habit!Whether you're just beginning to trust your artistic voice or you've been refining it for years, Marisa Anne is the loving guide and caring mentor you need to help you commit to moving through resistance, stepping outside of your comfort zone and making creativity a regular part of your life.

    Learn how to find space in your home, whittle down your stash, and get tips on maximizing your storage and organization. Experts will also show you how to repurpose furniture, recyclables, and vintage items to establish a space with function and personality.Inside the Creative Studio offers imaginative and unique solutions for every lifestyle, regardless of money, time, or space. Artists and crafters of all types—quilters, fiber artists, mixed-media artists, jewelry makers, sewists, painters, and more—share their stories, tips, and images of putting together their customized creative spaces. From spacious oases to cute and compact retreats, each studio offers countless inspirational ideas.With some of the best articles and creative inspiration from Studios magazine, Inside the Creative Studio offers everything you need to know to spend less time making your studio work and more time actually creating.

    What we have created together is truly distinctive in the tattoo media marketplace and, (in the opinion of our partners and artists ubiquitously), something long overdue- a serious and respectable publication for the entire tattoo culture, built by the tattoo community itself!Issue 1 features: Jeff Gogué, Mike Rubendall, Freddy Negrete, Valerie Vargas, Robert Ryan, Lucero and more...

    However, they discover that the outcome is not as important as the journey.Recognizing how common it is for crafters to start many projects and finish few, a group of women join together to form a guild--Unfinished Projects Anonymous to keep each other on track and accountable. Three friends are tasked with the job of home visits for their guild. They are laughingly called the Cartel as they do visits to snoop around craft rooms and knitting baskets to report on progress for the members. The guild has even expanded to checking on half-trained dogs and half-weeded gardens. Over the course of the story, this ensemble of women discover that much of life is half-finished--relationships, the raising of children, even our very relationship with the Lord. And that may be perfectly fine.

    Brown revisit Corgi Cottage, this time taking us inside to watch Tasha create the handmade items that are an integral part of her legendary nineteenth-century lifestyle. Surrounded by authentic American antiques and collectibles and using original tools and almost forgotten techniques, Tasha spins flax, dyes wool, and weaves on one of her seven looms. With the help of friends, she dips candles, makes soap, and concocts herbal creams and lotions. She harvests wood for making baskets and fruit for canning, presses cider, and dries herbs and flowers. Her Nubian goats supply her with milk for cheese and butter. Her bantam hens offer eggs for cooking and decorating. Stray feathers from her guinea hens end up as part of her toy owls. Her rambling cottage has its own marionette theatre and a built-in dollhouse, and all of the puppets and the dollhouse inhabitants were made by Tasha. Whether Tasha is crocheting a piece of lace to edge her petticoat, sewing a dress copied from an 1830s pattern, knitting intricately designed mittens and socks, or working on a quilt, her hands are never idle. For this book, she has created a series of new paintings in the style that has made her one of America’s best-loved children’s book illustrators.

    This magnificent 400-page book unveils beautiful Haute Couture dresses, captured with original photography and unique, insightful text which serve to annotate the influence of Chrisitan Dior and his successors, Yves Saint Laurent, Marc Bohan, Gianfranco Ferr

    Whether you like to simply draw one character, or even make a comic book out of it, this will definitely make drawing easier for you. Here’s what you’ll learn in this book: Materials When You’re Starting Out The Fundamental Elements of Art Practice Warm-ups before You Start Techniques on How to Draw Facial Features Drawing the Face in Different Angles How to Draw Different Hair Styles Using the Anatomy Model to Draw the Body–Hands, Trunk and Legs Drawing your Characters in Action Designing your Character Clothes, Accessories and Shoes This book is very easy to follow and illustrates different images that will serve as your guide in making the very basic shapes to finally drawing images that you desire. With a whole lot of practice and the right tools on hand, you would be good to go! When it comes to drawing, patience and hard work is needed. In the book: How to Draw a Manga Character everything is brought down to its simplest form so that learning is more convenient and enjoyable! So grab your own copy NOW and don’t forget to scroll up! Look for the “BUY” Button to download. Have fun!

    This is a book of 35 simple, modern craft projects to make any day special for the people we love. A handmade gift--even the smallest and simplest of gestures--brings a smile and makes a moment more meaningful. Any day, not just holidays and specific occasions, is an opportunity to create and gift. These versatile projects require no special skills and work for a range of people--from children to house guests--and occasions. Visually driven in its presentation, Make and Give stands apart from the traditional craft book with its bright colors and modern, graphic look. Each project is illustrated with step-by-step photographs, charts, and unique infographics. Less text, more photos, and illustrated designs guide the reader. The projects are inspired by the things the authors--designers and crafters by trade--make for their own friends and family. The book includes the authors' personal inspiration for each project, as well as "Make This For" tips to encourage readers to think about the special people for whom they could make these crafts. Projects include fill-in-the-blank tattoos, pressed herb prints, a weekday advent, a family tree embroidery, hand-drawn pillows, and candy capsule necklaces.

    Laced with true stories drawn from American quilting history, the narrative follows the transformation of the shanty mining village into a thriving community, moving through the Depression and up to the present day. Throughout the decades, the art of quilting provides a window into the lives of these women, their successes, and their sorrows. With more than 70 photographs and four vintage quilt patterns, this unique saga is a treasure for historians and quilters alike.

    Ten original and enjoyable knitting projects--each complemented by a meditation exercise.

    She shares the curator's fascination with the hidden forms of the animal kingdom--with camouflage and subterfuge--and she proposes that they collaborate on an exhibition, the form of which itself remains largely obscure, even as they enter into a strange relationship marked by evasion and elision.Seven years later, after the death of the designer, the curator recovers the archive of their never-completed project. During a long night of insomnia, he finds within the archive a series of clues to the true story of the designer's family, a mind-bending puzzle that winds from Haifa, Israel, to bohemian 1970s New York to the Latin American jungle. On the way, he discovers a cast of characters whose own fixations interrogate the unstable frontiers between art, science, politics, and religion: an aging photographer, living nearly alone in an abandoned mining town where subterranean fires rage without end, who creates models of ruined cities; a former model turned conceptual artist--and a defendant in a trial over the very nature and purpose of art; a young indigenous boy who has received a vision of the end of the world. Reality is a curtain, as the curator realizes, and to draw it back is to reveal the theater of obsession.Natural History is the portrait of a world trapped between faith and irony, between tragedy and farce. A defiantly contemporary and impressively ambitious novel in the tradition of Italo Calvino and Ricardo Piglia, it confirms Carlos Fonseca as one of the most daring writers of his generation.

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.