In a rush for a last minute wrapping idea? One of our designers created these lovely boho bunnies to add a little flair to your Easter gifts. Simply click the link to download the file and print as many as you want! Attach to Easter baskets for your little ones, presents for your loved ones or even tape them on skewers for Easter decorations around the house!
- Print the templates out on paper of your choice.
- Cut out the elements.
- Use a hole punch to create an area to thread raffia or string through
- Attach to baskets, gifts or skewers of your choice.
Download yours here! Happy gift wrapping!
This Easter, forgo the candy-colored tablets and vinegar for dyeing eggs. Instead, cover your eggs with soft hues and delicate patterns by using vintage silk scarves. We have a lovely selection of scarves on the Gift Wrap section of our site, many of which are silk, which would work perfectly for this process!
Dyeing eggs with silk scarves is one of my favorite seasonal projects because it incorporates green-crafting practices and, since you never know which scarves will make the prettiest eggs, it’s always a surprise. My family and I have been doing it for the last couple years, and it’s become a tradition.
This is a fun and simple process, without too many supplies or steps needed. So let's get started!
- Pick scarf of your choice and cut a square piece big enough to wrap around the egg.
- With the front side facing the egg (the brighter side), wrap the scarf piece around the egg and tie off with a piece of twine.
- Now wrap a piece of muslin around the egg and again - tie off with twine.
- Place the eggs in an enamel or glass pot with water, adding 3 tablespoons of white vinegar. Cover pot.
- Bring the water to a boil, reduce heat, and simmer for 15-20 minutes.
- Use tongs or a slotted spoon to remove eggs from the water carefully. Allow them to fully cool.
- Cross your fingers, and unwrap!
Hope this inspires you to create your own egg-dyeing traditions!
What made you start making yarn?
I love all the possibilities a ball of yarn holds. You can knit it in thousands of different stitches, weave it or crochet it. The possibilities are infinite, that’s what made me fall in love with yarn design.
How is your industry evolving?
Not surprisingly, everything is going online. The shops that have a better social media presence and beautiful aesthetic seem to be the ones getting ahead.
One thing I realize now that I wish I’d known when I was starting out is…
What got me here won’t get me there…or in other words, I need to learn a lot more than what I already know to take my business where I want to.
Are there any resources you’ve utilized that have helped you creatively or with your business?I am constantly on Ravelry, Pinterest and my favorite blogs getting creative inspiration. For my business, I devour podcasts and audiobooks. I love the Fizzle business podcast, great advice and I keel over laughing during most episodes.
My favorite way to unwind is...
During the week, it’s definitely knitting and Netflix, on the weekends dinner with friends and margaritas!
As a busy mother of 2, how do you make it all work?
The struggle is real! I wake up really early (at 5am) to do work before the kids wake up. I also time block out my day to make sure I’m not jumping from one thing to the next continually. This helps me batch all similar work together. I also try to recap at the end of the week to see what worked and what didn’t to hopefully learn from it.
Ok I have two:
-Elizabeth Gilbert: Failure has a function, it asks you if you really want to go on making things.
-Brene Brown: Be willing to let go of who you think you should be to be who you are.
Blue always and forever
I deal with discouragement by....
Going for a run, moving my body always helps me think differently.
What drives you?
I feel so grateful to get to build a business that I am passionate and excited to be a part of day after day. I want to build a community of makers around my work where people are encouraged to share and be their wonderful weird selves always.
What's next for you?
So many things I hope! Right now it’s focusing on my online business and growing the knit collage community.
What made you start making ceramics?
I fell into ceramics, I think a lot of people do. I don't think it's always one of those career paths that is so obvious, or sought after in a linear way, like pursuing a law or finance degree is, although maybe it's becoming that way. UArts’s (University of the Arts) best kept secret is their crafts program, I stumbled right into it, but I originally thought I’d study Art Therapy, as a way to sell it, in a practical sense, to my parents and myself. Luckily, the program used to be set up where you didn't choose a major your freshman year. You just take an array of foundational 2D and 3D classes, which I found really helpful, I had no idea what I wanted to do.
After taking my first 3D class, I became consumed with working with my hands. Ceramics was a clear choice to me because its multidimensional and the process is so tactile. I felt like even in choosing to study one medium, there were so many different veins within the field, i.e. process/forming method, utility, glaze chemistry, color, firing, and its global history. I love the physicality inherent in the construction and how scalable it is. You can paint and draw and build crazy textures only obtainable with ceramic material. And then you throw it all into flames. Everything breaks at first. You have to learn to let go of expectation. It teaches you loss. It becomes a mix of everything. It seemed infinite in a way.
One thing I realize now, that I wish I'd known while starting out...
That you don't have to know what you want to be when you grow up, just remain open to relationships and opportunities. Always Go. Peter Pan syndrome can be a good thing. Insulate yourself with people who want to work and progress as much as you do.
I didn't foresee where I'm at right now, making predominantly functional work, mostly because I didn't have an exact plan. In college, I strictly made sculptural pieces, which grew larger and larger, after it dawned on me that I may never have such unwarranted access to giant walk-in kilns. I wanted to exploit it while I had the chance. I wasn't sure how that would translate after I graduated, though. Its funny now, because at the time I felt like that work was the end-all, be-all. I was staring at it from a point-blank range. It keeps me going and more excited now, to work towards change and find a balance with side projects.
How do you glean inspiration for your own work?
I love approaching material by first asking myself what its intended use is and how far it can be pushed from that. I’ve noticed a lot of chef’s doing this and find inspiration in culinary arts.
Traveling is the quickest, most concentrated way to twist my perspective. I’m still living off of the influence I rubbed up against in Tokonome, Japan when I studied there in 2012. They didn't differentiate between function and sculpture there. Bowls are sculptures, sculptures are bowls. Flaws were emphasized with actual gold. I was drawn to this mindset and practice applying it to my own approach.
Right now, I’m using the color palettes from cartoons I grew up with and loved like early Nickelodeon, Ren and Stimpy, and All Real Monsters. I’ve been on a binge of screen shot-ing early Tim Burton like, Edward Scissor Hands and Beetlejuice, and I look for a common thread of what I focus on.
Favorite ways to unwind?
Leaving the studio just to take a walk to get coffee, yoga, the drive alone to Cape May from Philly with podcasts/old CD’s, wine with $5 burgers at Fountain Porter, New York trips to visit galleries with friends, books, leaving my phone in a drawer, ramen at Cheu.
Are there any resources you've utilized that have helped you creatively or with your business?
I kind of think having a lack of resources can be a good thing. The ceramic department I came from wasn't super funded and we didn't have a shiny, new studio space, the latest kilns, or every piece of equipment and technology. It forces you to be inventive. You have to modify tools, space, firing techniques and glaze recipes. It's really helpful for when you get out of an academic setting and suddenly don't have everything at your fingertips. I found being in that program was lucky. No one corporate was really keeping an eye on us. We could fire kilns in experimental ways and I could stay there late into the night, building work inside 40 cubic-ft. kilns with no one to really tell me not to.
Also, of course, resources like Instagram for obvious reasons. Dry shampoo. Podcasts.Having my work in restaurants has been a really helpful and an unforeseen marketing technique. I feel really lucky to have the opportunity to work with Wm. Mulherin’s Sons. The most significant resources have been my friends and peers to keep me engaged in a motivating community and always provide an open channel to bounce around ideas off each other. Especially post-election, the art community is coming together even more, which I find really hopeful and inspiring.
What drives you?
Having side projects always drives me and influences other sides of my studio practice. Recently, I’ve returned to building large-scale work, constructing vertically with thin lines of clay coils. I build fast and aggressively with the memory of ancient historical pots in mind. There is no specific reference and I intentionally choose not to use any visual aids in an effort to approach the work as if one would attempt to recall a dream or a distant memory. I'm interested in nostalgia, memory, and how the brain alters perspective and warps memories with our own bias, which in turn, become the foundations of our own history from which we build our present and future. Using pots as a metaphor due to their archetypal nature, you can not place them exactly. Which culture/civilization? What was its use; function or ritual? Time period? Geographic location? They are the word on the tip of your tongue that makes your brain itch, like trying to describe a dream to a friend, an intangible ghost.
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