Monday, April 30, 2012

Allowing April

April has been quite a month.
As in Dicken's Tale of Two Cities,
"it was the best of times...it was the worst of times",
which is LIFE in a nutshell.

Nepo's words today brought me some perspective and appreciation
for the inevitable waves of this "one vast ocean we
never stop crossing, even at death."

One Constant Arrival

Whether drifting through life on a boat or climbing
toward old age leading a horse,
each day is a journey
and the journey itself is home.
--Basho

"...we must accept that no matter the shore before us, 
the swell and toss of the sea never ends.

When brought to the crest of a swell, 
we can see as far as eternity and the soul has perspective, 
but when in the belly of those waves, we are,
each of us, for the moment, lost.

The life of the soul on Earth has us bobbing on a raft of flesh 
in and out of view of eternity,
and the work of the inner pilgrim is to keep eternity 
in our heart and mind's eye
when dropped in the belly of our days."


Thursday, April 26, 2012

Study in Blues & Greens

 Sawyer Original
Party Time
M.E.'s Enhanced PhotoArt

UFO


Thanks, Sus!

WOW!
Sister Susan sent this to me this morning.

Rob and I have just completed four full days/nights of Sawyer-care, so
this beautiful picture is like getting a prize after running a marathon,
a marathon of love, of course,
but a marathon, no less.

Thanks to PapaRob for filling Sawyer's Sunday with one adventure after another,
while I got to see Arkansas with my travel-buddy, Mary:

swinging at a new park
climbing at the Wooden Park
fries and ice cream at McD's
closet cleaning and laundry
(which Sawyer loves, go figure)
collecting boxes from the garage and dumping them in alley trashcans
(Sawyer also loves this activity!)
game-playing, coloring, ice-eating, flute-tooting, bathing, bedding down,
book-reading, "Bubble-Guppying", sink-playing
and then getting him ready and taking him to school on Monday morning
Whew!

Then we've tag-teamed it the rest of the time,
with Mommy & Daddy returning late last night and a much-needed
sleep-in for us this morning.

We love this boy
and remember why little ones have young parents!


Thursday, April 19, 2012

Oh me oh my!


APR27

VELLUM MOBILES

My latest Project Wedding post is up. If you’ve read this blog any amount of time then you know I love decorating with paper. I came up with this concept to create colorful installations by sewing strips of vellum together. They are very easy to make and you can make them in any colors to match your party. They look so modern and pretty. Read all the instructions right here.


Linens and Rentals from my friends at Abbey Party Rents.

The best part is this whole project can be made on the cheap--for under $25! Let's get started:
Materials:Vellum paper (we used 14 shades) 56 sheets of paper total $17
A sewing machine 
Fishing weights (not pictured) $5
An exacto knife and straight edge (or a stack cutter)
Artist tape (for hanging)
 
Step one. Cut the sheets of vellum into one inch strips. You can do this with an exacto knife or have it cut all at one time with a stack cutter. (If you decide to go the stack color route organizing the paper in the order you want it to hang in will save you some time.)

Step two. Measure the height of the space where the mobiles will hang to figure out how long you want them. Keep in mind you'll want to keep the eyesight of the guests clear of any obstruction. 

Step three. Once you know the length of the mobiles, layout the different colors in the order you want. Repeat until it is close to the length of mobile you want. Then put it into a stack and it is ready to sew.

Step four. Leave a 12" tail of thread at the beginning and start to sew down the middle of the first strip. (I found it is easiest to put a piece of tape on the sewing machine at the end of the strip as a guide to mark where the vellum should be sewn.) Continue feeding each addition strip into the sewing machine. At the end leave another long tail of string. As you are sewing try to be consistent on the amount of space between each strip but if its not perfect its ok, this design is very forgiving. Our mobiles were about four feet and the actual sewing took about 10 minutes for each mobile. 

Step five. If left by itself, the bottom paper will curl up, add a simple fishing weight at the bottom to prevent this from happening and to add a nice polish to the project.

Step six. Hang the mobiles at varying heights over the center of the table with artist tape.




Tools-article-footer-top

Oh my!


APR19

GEOMETRIC CINCO DE MAYO FIESTA GARLAND DIY

by Jenny Batt
Maybe it is because sunshine makes me think of tacos, but I have fiestas on the brain.  I really think it is just the pretty summer sets coming out everywhere that are making me think of bright pops of color hanging from string. Fun patterns of easy to cut shapes gives a update to the traditional fiesta bunting. What fun!

All the instructions and more photos after the jump.
(more…)

Amazing!

Wednesday, April 18, 2012

What a team!

 Sawyer's Original
Emmy's Enhanced PhotoART

Babes' mouths...

Two of Sawyer's favorite phrases these days are:

"Help me, Emmy"

and

"No, my turn"

Hmmmmm...sound familiar?

We want it, but we don't...and the beat goes on!

Step aboard?

I remember going to Disneyland as a little girl and riding this ride,
"Mr. Toad's Wild Ride".

Maybe it was supposed to be fun, but I recall it being disturbing. 

I think I only rode it once.

I can almost see the darkness and feel the jerky little car 
careening around corners and stopping and starting unexpectedly, 
without my control...wild indeed!

Here's more from Wikipidia:

Mr. Toad's Wild Ride is a dark ride at Disneyland Park. It is one of the few remaining attractions that was operational on the park's opening day in 1955. The ride's story is based on Disney's adaptation of The Wind in the Willows, one of the two segments of the film The Adventures of Ichabod and Mr. Toad. It was once an attraction at the Magic Kingdom park inWalt Disney World, but despite a long protest against its closure, Mr. Toad's journeys to nowhere in particular were put to an end in 1998 and the ride was replaced the following year with The Many Adventures of Winnie the Pooh. However, a statue of Mr. Toad can be seen with many others at a pet cemetery outside the Haunted Mansion. Corey Burton does every voice at the attraction, except for the usage of audio from the film. Both parks now sell two shirts representing Mr. Toad's Wild Ride, with the shirts at Walt Disney World made for the 1971 Collections set. 

I woke up this morning thinking about this ride and how many times in life 

our thoughts and feelings invite us to step aboard...and we do...and we ride...

and how good it feels when the ride stops  and we choose to get off...

because we can...but it seems we have to ride it to the end,

no detours, no short-cuts...but always remembering,

it's just a ride.

(And, that's the hardest part!)

In the Disney Land version, guests enter a recreation of Toad Hall, passing by artistic works commemorating characters from "The Wind in the Willows". A large mural shows the adventures of Toad and his motorcar, foreshadowing various scenes in the ride. Guests hop aboard miniature, early1900s-era, multicolored motorcars. The name of one of the characters from the film (Mr. Toad, Toady, Ratty, Moley, MacBadger, Cyril, Winky or Weasel) is inscribed on each motorcar.
Passengers begin their journey by crashing into a library, where MacBadger is seen teetering atop a ladder with a stack of books. They then crash through the fireplace, where fiberoptic effects simulate the scattering of embers on the floor. Narrowly avoiding a falling suit of armor, the passengers break through a set of doors to find the interior hallway of Toad Hall in disarray, as weasels swing from chandeliers. Guests then enter the dining room, where Mr. Mole is eating at a dinner table and gets knocked aside.
Upon leaving Toad Hall, guests travel through the countryside, passing Mr. Rat's house, aggravating policemen and terrifying a farmer and his sheep. Making a right turn, guests head for the docks and get the impression that their car will plunge into the river, but quickly make a sharp turn in a different direction and enter a warehouse full of barrels and crates containing explosives. Guests crash through a brick wall as the warehouse's contents explode. They then head out into the streets of London, avoid a close collision with a delivery truck, and enter Winkie's Pub, where Mr.Winkie the bartender holds two beer mugs. He ducks down, leaving the mugs spinning in the air.
Passengers then enter the town square, where the cars wreak further havoc on the citizens. A working fountain featuring Toad and Cyril Proudbottom stands in the center of the town. Behind this statue is a statue of Lady Justice peeking out from under her blindfold. Next, guests enter a jury-less courtroom, where the riders are proclaimed guilty by a judge (based on the film's prosecutor for the Crown). The cars then enter what is presumed to be a dark prison cell before abruptly turning right and landing on railroad tracks. The vehicles bounce along the tracks in the dark before colliding head-on with an oncoming train.
Guests then arrive at the ride's final scene: a tongue-in-cheek depiction of Hell not inspired by any scene in the movie or book. The entire room is heated, and the scenery features small devils who bounce up and down. We also see a demon who resembles the Judge from the courtroom scene. Near the end of the scene (and the ride),a towering green dragon emerges and attempts to burn the riders to a crisp. A glowing light is seen in the back of its throat and choking, coughing noises are heard while the motorcar speeds away. Granted a reprieve, the passengers eventually "escape" to the ride's loading and unloading area, where they disembark.
Mr. Toad's Wild Ride in Florida was one of the Magic Kingdom's opening day attractions on October 1, 1971. Although it was modeled after the Disneyland attraction, it had some unique characteristics that set it apart from its California counterpart. The most obvious was that theFlorida incarnation had two separate boarding areas. The vehicles (in the form of Jalopies) in each boarding area were on separate tracks that followed different paths, so riders would get a slightly different ride, depending on where they boarded.
Like its counterpart at Disneyland, it was not a thrill ride, but it was not slow and quiet like most dark rides. It made sudden turns and often the vehicle would move at full speed towards an obstacle, which would move out of the way at the last second. At one point the vehicles on different tracks would head directly towards each other, giving the sense of an oncoming collision. It was a very stylized attraction and resembled a cartoon more than any other Disney ride. It contained highly ornate plywood characters and sets that were very reminiscent of the multiplane camerawork featured in many Disney films.
Despite the ride's popularity and many protests, Mr. Toad's Wild Ride closed on September 7, 1998 and was subsequently replaced with The Many Adventures of Winnie the Pooh. While minor tributes to the ride can be found in Disney World, including paintings of Mr. Toad andMoley within The Many Adventures of Winnie the Pooh and a statue of Toad in a pet cemetery outside of Haunted Mansion, traces of "The Wind in the Willows" characters within Walt Disney World are minimal.
The two tracks of the Walt Disney World version of Mr. Toad's Wild Ride didn't pass through all of the same show scenes. Thus, each track gave riders a completely different set of scenes to pass through.
On Track #1, riders passed through rural English countryside upon leaving Toad Hall, coming face to face with a few cows along the way. After passing through a small tunnel with several warning signs, guests made a turn into a central plaza. Traveling around the turn, the vehicles passed a policeman signaling riders to stop with his whistle. Guests then made a right hand turn into the courtroom as the judge declared Mr. Toad guilty. Upon making a right hand turn, the vehicles entered several weasel-filled jail cells.
After winding through the cells, guests emerged out into a dark forest, passing by a shootout between the police and some weasels (using red lights to simulate gunfire). Several of the police barriers then moved aside revealing a railroad crossing, complete with a ringing bell. The gate then moved aside, and vehicles made a right hand turn onto the tracks. Vehicles traveled along the railroad tracks, until getting hit by a train (with riders seeing the headlight of the locomotive). A door then opened, revealing the "Hell" scene. Afterwards, guests went through a door back to the boarding area.
From the boarding area to the plaza, Track #2 passed through two scenes not seen in Track #1: Toad's trophy room, and a Gypsy camp. After rounding the plaza, instead of entering the courtroom, guests continued on and entered Winkie's Tavern. The vehicles made a right hand turn and guests could see the Weasels hiding out in the Tavern among the ale barrels. Following this, guests emerged into the night countryside. Passing by Mr.Rat's house, the vehicles reached a railroad crossing. This gate moved aside, and vehicles made left hand turn onto the railroad tracks. Like on Track #1, the headlight of the locomotive was visible before the train hit the riders. The "Hell" scene on this track was merely a mirror image of the Track #1 "Hell" sequence.



Tuesday, April 17, 2012

About Kat...

Heard her interviewed on NPR as I was driving back to the house
 this afternoon, and I really liked her attitude about
her music...subtle, simple, that's all!


Kat Edmonson is a buoyant singer-songwriter from Texas
whose tiny stature belies a powerful voice.
She makes smart, familiar pop; though steeped in vintage tradition,
her style leans left of center.
Kat’s biggest strength is her rich vocal control:
alternately coy, elegant, and poignant,
she often shifts tone effortlessly from one note to another,
and she’s not afraid to leave in
the occasional touch of gravel in her recordings.
The singer is exceptionally present both on her albums and in concert.

She’s performed with Willie Nelson, opened for Smokey Robinson,
toured with Boz Scaggs and Lyle Lovett,
and headlined the Taichung Jazz Festival in Taiwan.
She also recorded "Baby It's Cold Outside" with Lovett
for his new album Release Me (Feb 28, 2012).

Now splitting her time between Austin and NYC,
Kat is eager to release her second record, Way Down Low.
She hopes it will be "a launching pad to play all over the world
and travel wherever I can."

Growing up an only child with a single mom,
the singer spent a lot of time daydreaming and avidly absorbing
her mother’s collection of old movies and records.
"School was really agony for me," she says.
When she wasn’t writing songs in class, she would skip school
and drive around for hours on end, listening to Neil Young,
Carly Simon, Frank Sinatra, etc. 
This private communion with some of the musical greats,
her heroes, was her true education.

Kat was a contestant on the 2nd season of American Idol
and was eliminated when Randy Jackson told her she didn’t look like a star.
She left Hollywood for Austin in search of her musical home.
There, she started attending open mic nights at a club called the
Elephant Room and met a vast array of local players to collaborate with.
These new-found relationships allowed Kat to begin playing regularly
in the scene and she soon became a well-known success.

Her 2009 record, Take To The Sky, is an homage to songwriters.
Kat says the record was "me trying to question
what a standard actually is, and what popular music is;
taking tunes and using them as canvases for self expression."
On it she re-interprets such storied works as "Summertime"
alongside more recent pop gems such as The Cardigans’
"Lovefool" and The Cure’s "Just Like Heaven".

Fun new artist...

Ah...still here



Monday, April 16, 2012

Prayer for All of Us

Every Riven Thing by Christian Wiman

God goes, belonging to every riven thing he's made
sing his being simply by being
the thing it is:
stone and tree and sky,
man who sees and sings and wonders why

God goes. Belonging, to every riven thing he's made,
means a storm of peace.
Think of the atoms inside the stone.
Think of the man who sits alone
trying to will himself into the stillness where

God goes belonging. To every riven thing he's made
there is given one shade
shaped exactly to the thing itself:
under the tree a darker tree; under the man the only man to see

God goes belonging to every riven thing. He's made
the things that bring him near,
made the mind that makes him go.
A part of what man knows,
apart from what man knows,

God goes belonging to every riven thing he's made.


Saturday, April 14, 2012

ART DAY!


Since I wasn't in Provo for the Bijou Market,
I did the next best thing and had a wonderful time at
the annual Lubbock Art Festival.

Don Clabaugh, Artist


I had the best time visiting with Don and learning more about the
wonders of Photoshop and its legitimate place in the ART world.

We shared a mutual delight in the "undo" and "redo" buttons,
and I bought this little notecard entitled 
"The Water's Always Bluer",
after he told me the story behind the painting, commissioned for a 
boardroom with a wall of windows facing the ocean view.




ARTography® is a term I coined to describe my combination of photography 
with digitally enhanced art elements thus making my "photos" more than pictures, 
and more like art. Many times I will combine parts from different images. However, 
sometimes I will only add effects, textures or enhance the colors. As a result, I call 
these images, "created" as opposed to "au natural". I hope you enjoy viewing them 
as much I enjoyed creating them.