The primary design tool in my digital collage tool box is the Diana photo app. Pretty sure it’s free. It allows you to select two photos and then double exposes them with a variety of filters.
[My other heavy hitters are PicFrame — for making mosaics — and Hipstamatic — a photo app that applies a filter and a frame as you shoot. Many of the photos that I double expose through Dianaphoto were shot in Hipstamatic.]
This post will give you the basic skills to use the Diana Photo app. It is a ton of fun, addictive even. Don’t say I didn’t warn you!
First, select two pictures by tapping the camera icons in the squares at bottom. The app automatically applies one of its filters. I’ll show you how to select a different filter in a minute.
Tip. If you’re like me and have 1,000’s of photos on your phone, you might want to create an album before starting. That can spare you a lot of scrolling.
If you find yourself intrigued by one of the two selected photos and want to keep it in place while changing out the other, lock it in place by depressing your finger slightly on the picture itself.
A lock icon will show up
Locking a picture allows you to audition how it will look with different pictures or filters or both. To unlock, simply hold your finger down on the locked image.
Next, select a filter. There are a couple of dozen. The variability of effect includes not just color and intensity, but also which parts of the photos are visible. Note that there is also a “no filter” option.
To select another filter, you can swipe left on the double exposure (without the filter grid visible) and whatever filter comes next in the app will be applied. In the alternative, you can hold your finger down on the double exposure and the black filter grid-menu will appear. Then tap to select. This latter method is efficient if you know your favorite filters. There are quite a number of filters that I never use.
To save the double exposure, simply tap the three connected circles ICON at the upper left. That will produce a menu for you to select where to put the pic. I always save to my camera roll, even if it will later go on Instagram or FB or wherever.
Below, find the same two photos with different filters. It gives you an idea of the kinds of changes produced by the app.
Directly below the double exposure, there’s a white dot flanked by plus and minus signs. An intensity slider. Hold lightly and slide left or right to dim or heighten the double exposure. I wish this feature was more interesting. A lost opportunity, IMHO.
Above left shows a fully dimmed filter while the right shows the button slid all the way to the right.
Another design tool is the swap. The selected pictures at bottom can be switched left/right by swiping left or right. This may produce radically different filter results (note, sometimes it makes little to no difference).
Dianaphotoapp has two ways of letting you make random selections. You can tap the dice at upper left and if no photo had been locked, it will select two photos from your camera roll. If you’ve locked an image, then it’ll only select one. I’ve read you can shake your phone too, something I’ve yet to try.
I love the dice function. Absolutely love it.
By using photos of collage or quilts, these pix gain a little artistry (IMHO). Also, when one or both picture is ALREADY a double exposure, some really quirky mysterious effects can be achieved.
That’s one reason why I use the hashtag #lostcountoftheexposures over on Instagram. I also always use #dianaphoto and #dianaphotoapp so that others having fun with this app can see.
Also, once in a while, the official Diana app account will feature one of my pix (last photo, below).
2. Lay two rectangles right sides together. Position third on top (it will end up inside).
3. Cut two strips of 1/4″ elastic, 7.5″
4. With right sides together and inner layer resting on top, sew all the way around except for a three inch opening for turning. Secure ends of elastic into corners of the short dimension, taking care not to catch elastic as you sew one end to another.
5. Turn “envelope” right side out
6. Pin three pleats on each end
6. Top stitch around twice.
There are other more complicated versions, but my pea brain needed something simple. (This mask example doesn’t demonstrate the inner layer).
1. The guy who my son was supervising this week who is symptomatic and in quarantine doesn’t qualify for testing — meaning C won’t know definitely whether he’s been exposed. The good news is that, being in a lab, both had protective equipment on.
2. My brother reported that the CTs that he’s seeing of PUI’s (persons under investigation) are routinely showing alarmingly damaged lungs.
‘Tis the season for merry mice! Here’s how to make a four to five inch high mouse that will add a festive note to any tabletop or tree.
Felt or other cloth
Pipe cleaners for arms
Waxed linen for whiskers
Buttons or beads for eyes
Stuffing and small gravel
Scraps of cloth for clothing
Notes on materials:
You could make these critters out of any fabric at all — calico, for instance, or old socks. I use acrylic felt because I have a ton on hand from my days of craft fair booth-making. If you can afford it use wool felt, but fair warning, it’s pricey.
Also, I use pipe cleaners for arms because I like them to be bendable, but you could stuff the jacket arms instead.
Turning tool (chopstick or knitting needle);
Doll making needle (not necessary but nice);
Wire cutters (if using pipe cleaners)
Seam ripper or awl for poking holes (not shown).
I’ll often start by making batches of components.
For the ears, cut outer layer out of black felt and inner out of pink (slightly smaller than the black). Sometimes I glue the pink on black. Other times, I skip the glue and rely on stitching.
Curved ears for mice. Pointy ears for cats. Drapey ovals for dogs.
If you don’t know this trick, you will be eternally grateful to me once learning it: for tough-to-open screw tops, wind a rubber band around the top and try again. Voila!
Once glue has dried, fold and stitch base tightly closed. This needs to be stiff enough to insert into the small holes that you’ll be poking in the head.
Make some heads. I don’t use a pattern but the shape is easy enough. Just be sure to create a long neck because it will need to be inserted into the body (longer than my diagram). Back stitch at tip of nose for strength. Clip seam at tip before turning.
Cut oval bases to size. They don’t have to match.
To make the body, sew up sides and then secure an oval base. It could not be easier. Only two tricks and one suggestion here:
Keep NECK OPENING WIDE for ease of reversing to right sides after base attached. You can always take a tuck or two later but (especially if using thick wool), too small an opening makes reversing to right sides impossible.
When sewing the base on, be sure to place the TAIL ON THE INSIDE and snake it up the inside. This way, when you turn it right-side-out, the tail comes out of where you want it. I usually center the tail between the base’s two side seams.
Lastly, make oval much larger than necessary so that precision is not required when attaching to the body.
Next, add features to the head.
Using an awl or another sharp implement, poke ear holes in the head and insert ears. Stitch, going back and forth between ears or down through the neck rather than sewing one ear first, then the other. It’s much easier. Don’t worry if your holes are too big. Felt is very forgiving.
I haven’t decided whether it’s more efficient to stuff the head first or not. Probably easier to stuff, then insert ears. Certainly by the time you’re attaching eyes, you want the head stuffed.
Attach teeny buttons or seed beads for eyes, again stitching side to side. You can also stitch the eyes.
This head exemplifies not just stitched eyes, but a short cut for when you’ve run out of ears: put a kerchief on. Or a Santa hat!
Cut small lengths of waxed linen, fold, and stitch in place for whiskers. Again, sew side to side. In a pinch, you can use embroidery floss. I usually have to trim the whiskers down after sewing them onto the nose.
Next, embroider nose and mouth, using a contrasting warm-colored floss. You can do this after the head is attached as long as you’re clever about hiding your knot.
Next, stuff the bodies. I buy pea-sized gravel and rinse it for the bottom of the body to give it ballast. If yours are meant to hang, you can use poly-stuffing only.
To make arms, take a pipe cleaner and make a loop at center, twist once around the loop for strength, then stretch arms out and stitch to the body at the loop. Cut arms to size.
This is my way of making arms and a hanging loop simultaneously, but you could use a straight piece of pipe cleaner and attach a thread as hanging loop instead. Also, you could make your arms integral to the jacket and skip the pipe cleaner altogether.
Making clothing and accessories is the fun part. This year, I’m crocheting wreaths and making teeny quilts. Doll making aisles at craft stores are a gold mine of miniature items — wreaths, garden tools, rolling pins — you name it. Good for customizing your mouse as a gift when time is short.
Polar fleece is great because it doesn’t fray and more, because I have a bin left over from when I taught third graders mitten and hat-making. (Note: the above mouse’s jacket is secured by straight pins. When I get a second, I’ll replace them with buttons, but I don’t have to, really. Be mindful of recipient. A child might be better with buttons).
Making felt critter clothing offers so many opportunities to reclaim cuffs, sleeves and portions of sweaters gone by! A whole post dedicated to the garbing of mice will follow.
By the way, to say the obvious, these are SEWN FELT mice, not NEEDLE FELTED MICE.
For darling examples of felted mice, see pix from Instagram, here: MollyDollyNatural.
I plan to learn needle felting someday. It looks like so much fun, doesn’t it?
This yellow-ish quilt prompted questions about photo transfer, so I thought I’d share four methods: two involving ink jet printing; an oil-rub technique; and iron on transfers. I’ll save web-based fabric printing for another post.
1) INK JET PRINTING, store bought sheets
Many photo-transfer cloth sheets designed for ink jet printers are available at craft stores and online. They’re a little pricey but super convenient.
Different weights of cotton are available, as well as silk and organza. For patchwork, regular cotton is best. To print something for framing, canvas offers stability and a nice finish, while for collages, the sheer organza allows for interesting layering possibilities.
Here are two shots that give you a sense of the pliability of the thinner cotton product and how it takes a hand-stitch. The drape isn’t wonderful, but if making decorative wall-quilts, it probably doesn’t matter. More photos of the project at post’s end.
(The top of the building above was printed onto the cloth by the company spoonflower using a jpeg that I supplied. The lower part of the edifice was ink jet printed here at home).
2) INK JET PRINTING, homemade sheets
If you’re feeling a little more ambitious, you can prepare your own cloth for an inkjet printer using freezer paper.
Rough cut rectangles of freezer paper and flatten before precision cutting.
Make your final rectangle-cuts slightly shy of 8 1/2 x 11. This will help prevent printer jams. The last thing you want after this amount of effort is a printer jam!
Cut your fabric to size and iron freezer paper on to the wrong side. Don’t be fooled by my process shot, below — I am purposely using the wrong side of the fabric for printing because I want the lighter color.
One reason you might want to make your own sheets is to feel better shelling out the money for the manufactured sheets!
For this print, I simply laid the collage down on the printer glass. The delicate pink vintage cotton is nearly sheer and will be fun to use down the road. If I had wanted to fiddle with the size, color saturation, or other features of the original, I could have photographed it and made adjustments on the computer prior to printing.
General ink jet printing tips:
Don’t use “best” print setting because that lays down too much toner
Sometimes reducing the size of an image creates a sharper final print
Whether scanning originals from a printer glass or printing from a computer photo program, decide whether it’s more important to maximize the designs printed on each sheet or to leave seam allowances
Remove backing sheet right away even if cloth is not for immediate use because otherwise the backing can stick.
If backing does stick, simply apply more heat to remove.
If color fastness matters, you might want to pre-treat fabric with a product called “Bubble Jet Set” and also rinse with synthrapol. Dharma Trading Co. sells these products. For wall quilts, I don’t bother. However, I do pre-wash.
3. OIL RUB transfers
Oil rubbing is simple and fun. The only trick is finding a xerox copier that lays down the right kind of toner. Luckily for me, the machines at my local library do.
Essential oils: eucalyptus and citrus.
Rubbing implements: bone folder is best but almost anything will work (plastic clay tools, wooden knitting needle, the wrong end of a pen).
Dover makes lovely paperback collections of copyright-free black and white images that are perfect for these transfers. You can also copy and use your own photos.
The surface below your work area needs to have a little give but also be even. A cloth place mat topped by a plasticized study aid fits the bill.
Using a Qtip, distribute oil over entire backside of image. Tape down and rub. It’s that easy.
Direction of rubbing isn’t critical, but you must be thorough. I pull up the xerox and check a couple of times to see how it’s going. Some people won’t risk mis-aligning the image to do this and will, in fact, tape the bottom down, too. You’ll figure it out.
The poor quality of this attempt might be due to the fact that the original image was dark. Too much toner is not a good thing, just as the “best” print setting may not be ideal when printing on an inkjet.
4. IRON ON TRANSFERS
Iron-on transfers leave a plastic surface that’s hard, shines, and won’t take a needle. They degrade in the wash, too, which is why they’re not even ideal for t-shirts. I’ve used them now and again though. When the kids were young, for instance, I helped every single first grader make their own Earth Day t-shirt.
Iron-ons of original art work (onto linen, say) make fine gifts when framed under glass. I’ve also used them for holiday sachets. These only come out a few weeks a year, so the durability issue isn’t key. You can make the sheen a feature by highlighting it with your other fabrics. Below, I used a metallic drapery print and two kinds of shiny, satin edgings.
Tips for iron-on:
If orientation matters (for instance, when there is type), you must REVERSE your image before printing. Look for the ‘flip horizontally’ button.
Avoid getting the sticky stuff on your iron by using a thin presser cloth.
Something just shy of the iron’s linen/cotton setting works best. Too hot and you risk scorching. Too cool and the backing sticks on.
TA-DA! Now you now everything that I know about these four methods of photo transfer!
P.S. I have a large collection of black and white xeroxes from my teaching days — vegetables, sea images, religious iconography, dogs. If you’re desperate to try this method before finding the right kind of copier, let me know and I’ll pop a few in the mail to you. You can find essential oils in Whole Foods or other health food outlets (is Whole Foods even a health food outlet anymore?).
The dapper-guy-cloth I ordered through Spoonflower. I’ll save that for another time.
Here is my quick version of how to make a quilt using children’s art. I really only have about three tips, but I’ll go start to finish. This one was auctioned at a fundraiser for the pre-school that my boys attended many years ago.
Order inkjet prepared cloth. This is one of my big tips. At retail and on many websites, sheets can cost up to $3.00 each. I almost never pay more than $1.00 — you just need to hunt around a little online. Many fibers and weaves are available. For a quilt like this, I recommend a cotton with some drape (i.e. not pima or canvas). For memory quilts featuring a single image (say, a vintage photograph), I have used silk.
You can prepare your own cloth for inkjet printing, of course, but it is a giant pain in the ass. Even if you shortcut like mad (as I am wont to do — in this case, meaning skipping the Bubble Jet set soak and subsequent pressing and skipping the stabilization of the perfectly measured and cut piece of fabric with a perfectly cut piece of freezer paper) — it is a lot of work. And if you DON’T shortcut and do all those time-consuming steps and the paper/cloth jams, it is heartbreaking.
Gather the artwork. This is the easiest part. Children make incredible, unselfconscious art. For this project, I used self portraits drawn by three year olds.
Photograph and Tweak. Take pictures and crop or adjust color a little, if necessary, but do not shrink the file size. This is different from the resizing one typically does to shrink an image for posting online. You want the data. Remember seam margins.
You might want to dye fabric for the sashes. We tried and it was a lot of fun, but the non-toxic green mixture was too dilute or weak or something. I decided the failure served the project, though, because a dramatic, striated ARASHI border would have competed with their art work.
Print the artwork onto the inkjet-prepared sheets of fabric. If there is not a TON of color in the artwork, go ahead and set your print to BEST. However, if there is a lot of color, you might actually achieve a better image at the REGULAR print setting (less toner being key).Fix the image. First, let the printed sheets dry without stacking so as to avoid any possible smearing. Then, carefully peel the paper off of the back and press to fix the color. Some instructions recommend rinsing with water, but I don’t find it’s necessary.
Make the quilt. This is standard stuff. My only tip here is if you were concerned about keeping your hours somewhat contained, skip the batting and make a pillow-case style attachment of the quilt top to the back, and run a machine top stitch around the edge to close the opening. Then the two layers will stay together with just a little hand or machine quilting and no binding will be needed.One of my objectives in selecting fabrics was to make sure they didn’t compete with the drawings. By pressing the quarter inch turn-under at the opening, the top stitching is very easy. I do this when hand-stitching the closure shut as well.
That’s it! Easy, really.
[On another note – The fakey links are back with nearly irrepressible pops ups and this rogue insertion of six gibberish characters “&nbsp;” or something like that, is freaking me out. WordPress has been so glitchy on top of that, with weird new arbitrary photo placements, etcs. Between all of this and the loss of regular readers, I have to wonder why I am doing this!]