In my last blog, I talked about the roots of what can only be described as a lifelong beading adventure. Having been a beader off and on for about 15 years now (and having more money at some times than others to invest in my hobby), I have learned a few things about the do?s and don?ts of jewelry making. The following are a few tips and rules for those of you just starting out on your beading journey.

1. Always use high quality crimp beads. Whether you are using silver or gold, try to avoid anything plated or anything that is not tube-like in its appearance. The plated crimp beads are okay for making simple illusion necklaces, but are not sturdy enough to withstand the wear and tear of your beaded jewelry.

2. Do not sacrifice quality for price when it comes to beading wire. Although 49-strand wire may seem expensive, in the long run it will save you time, money, and frustration from having to recreate pieces that have fallen apart due to the use of less durable wire. And although Supplemax is a great product for creating illusion necklaces and woven pieces, it is not sturdy enough to hold strands of beads. Neither is Fireline. (I speak from my experience and the experience of others on this one!)

3. Use the most project appropriate findings and clasps possible in your pieces. It is embarrassing to admit but when I began making jewelry again, I used beading wire and crimped the bottom so it would act as headpin. Though this may seem creative, it was actually not very attractive or very sturdy. And clasps? Don?t even get me started! I used to buy my clasps in bulk and I used the same clasp on every piece of jewelry I made, whether it was delicate or bold and chunky. Now I cringe when I see those old pieces with those plain silver plate toggles. Also, when choosing a clasp, you will want to keep in mind what the finished piece will be. I generally use a lobster and chain at the back of necklaces (so the length is adjustable) and use toggles on bracelets (because they are sturdy, attractive, and easier to take on and off than a lobster clasp).

4. I would never say that you shouldn?t use inexpensive beads; plastic, glass, and base metal beads can make some great fashion jewelry pieces. What I would say is that you should never mix your less expensive beads with your more expensive beads. For example, I probably wouldn?t use Czech glass to create a necklace around a $30 sterling silver pendant. I also probably wouldn?t mix plastic beads with Swarovski crystal. The main reason for this is that you will ultimately devalue your finished piece. Remember: a person?s perceived value of a product is just as important as the actual value.

5. The best advice I can give is to learn, learn, and learn some more! I am a person who does not like to be taught by others. I don?t read instructions and I don?t learn from a classroom environment; I am more about being self-taught and experimentation. Some people, like Karla, find they do better when they have a trusty friend or magazine to help them learn a new technique or skill. However you learn best, learn as much as you can! Take classes, subscribe to beading magazines, look at free online jewelry projects, watch online videos. All of these things will teach you not only new techniques, but what kinds of tools and materials and resources you can use while you learn your new craft. And I believe one of the best things about this hobby is that you never stop learning!

You will get out of this hobby what you put into it and, whether you are selling your pieces or giving them as gifts or keeping them in your own jewelry gift, you want to make sure you are creating nothing but the best. Happy beading!

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Papier mache, also known as paper mache, is easy to make. Using paper mache to make crafts items like ornaments, figurines and other shapes is very economical and also eco-friendly. This is because it uses waste paper in the form of old newspapers, stationery, gift wrapping or any other kind of left-over paper.

Below are three easy paper mache recipes. Once you have learned how to make paper mache you can prepare it, use it to form shapes, dry these and paint them.

If you are making paper mache to prepare large ornamental items with it, it is best to shape such items around cartons, cans and even inflated balloons. Balloons, in particular, are excellent for spherical paper mache items.

For the first of these paper mache recipes, you will need flour, water and a good supply of recyclable paper. You begin by stirring three parts water into one part flour until a smooth and creamy mixture results. It is best to add a few drops of oil of wintergreen so that the paste has a longer shelf life. Wintergreen oil is obtainable at most drugstores. After stirring it all together properly the paper mache paste is ready for use.

Then follows the paper, which is of course the vital ingredient here. Old newspaper is highly recommended for this. You proceed to dip each piece of paper in the liquid mixture and then to apply each paste-covered piece of paper to the mould or shape.

For the second paper mache recipe, you will require wallpaper paste, water and paper. You can buy wallpaper paste at most hardware stores. The process is to mix one part of wallpaper paste with three parts water, then stirring well. You now have ready-to-use paper mache paste. Once again, you then pick up individual pieces of paper, dip them in the paste and apply them to the chosen shape.

For the third paper mache recipe, you will be using three ingredients, namely white glue, water and paper. The process involves mixing two parts of the white glue with one part of fairly warm water and then stirring properly to produce the paper mache paste. After this, the same shaping procedure as in the other recipes follows ? dip your pieces of paper in the paste and apply them to the chosen shape.

For each of the above paper mache recipes, it is important to follow certain precautions in order to get the best results. Firstly, one should be sure to tear and not cut the newspaper into strips, since this increases absorption and adhering properties. Secondly, one should make sure that each piece of paper is thoroughly saturated with the chosen paste while dipping it in. Thirdly, it is important to allow each layer of paper mache to dry completely before adding the next layer. This ensures the best possible hold and consistency.

Also, paper mache paste has a very strong smell and some people prefer to use a bit of cinnamon to reduce it.

Paper mache plays a big role in the Mexican version of Christmas, which goes under the name of Navidad there. The traditional festivities involve a so-called Pi

My devotion to glass is insatiable, it’s molten state has an almost hypnotic effect on me. From a solid strip of glass on a hot flame, it becomes molten in front of your eyes and can then be manipulated by the artist to produce a beautiful intriguing lampwork bead. The bead may then become an integral part of a piece of jewellery, worn proudly for many years and passed down as a heirloom for generations to come.

It has been recorded in history the earliest form of glass beads discovered were made around 3000bc. These beads were used mainly for trade. In the late 1200’s Venice became the major city for bead artists when the production was moved to the island of Murano.

Lampwork beads were made directly from a furnace. A mandrel (wire) was dipped into the crucible of molten glass and wound around the mandrel. Further progress was made by the Venetians who used an oil lamp connected to bellows. The pumping of the bellows added oxygen to the flame in order to increase the heat sufficiently to melt a glass rod which would be wrapped around a mandrel to form the bead.

Today, as a lampwork artist my method of making glass beads does not differ greatly from the 1500?s. There is no longer the need to pump bellows to gain the desired heat, instead a bench burner is attached to a source of both gas and oxygen. These fuels mixed together produce a very hot flame in which the glass is melted and wrapped around a stainless steel mandrel coated with a bead release to prevent the bead from sticking.

The intricate designs seen on many lampwork beads are made in a variety of methods. A great deal of decoration is created by pulling a thin thread of molten glass called a ’stringer’. The stringer is then added to the bead whilst in the flame in dots or lines to form many different patterns.

There are quite a few major manufacturer?s producing glass rods specifically for lampworking. It is very important that the glass used in a bead is of the same coe - coefficient of expansion. This means the glass must be compatible with one another so that they expand and contract at the same rate, if not, cracking will occur. In many cases 2 glasses from different manufacturers or even the same manufacturer may not be compatible. My lampwork techniques are a little different in that I prefer to use compatible sheet glass which I cut into strips. This source allows me to work with a wider colour palette.

Some amazing effects can be experienced with the inclusion of fine silver wire. When added between 2 layers of glass the silver will often result in a gold colour, whilst on the surface will retain it’s silver effect. Leafs or foils of silver, gold, palladium and copper also add to the uniqueness of a lampwork bead. A new design can be discovered every day along with different shapes and intriguing sculptures.

The durability of a lampwork bead is often a question asked, after all it is made from glass. All lampwork beads with no exception should be put through an annealing cycle immediately after it is taken out of the open flame. This is achieved by placing the bead into a preheated kiln at approximately 530

Paper beads are a fun project to take up with your kids as they will enjoy making different jewelry out of these paper beads. Different types of papers, with a variety of different textures can be used to make paper beads. There are thousands of paper bead patterns that you can choose from but you can get the best results from a more thin paper as it curls more easily. Here, we will guide you on how to make paper beads.

How to Make Handmade Paper Beads
Here are the step by step instructions for how to make paper beads.

Material Required
?Gift wrap paper
?Paper cutter
?Glue
?Toothpicks
?Glitter powder
Method

With the help of a paper cutter, cut the gift wrapping paper into 1 inch width strips. If you do not have any gift wrapping paper, you can also use the glossy pages out of an old magazine, just make sure that the paper is not too thick or you will have trouble in making the paper beads. The strips can be about 8 to 10 inches in length. Now apply glue on the plain side of the paper strips, leaving the end of the strip glue less. Start coiling the strip of paper on the toothpick from one end and keep rolling until you have rolled it to the end. When you reach the end of the strip of paper, apply some more glue and stick the paper on the bead. To give a consistent shape to the paper bead, roll it in between your fingers and the table top. Allow the beads to dry for some hours and when they are completely dry, carefully slide the toothpick out of the paper bead without disturbing its shape. Now apply a bit of glue that has been thinned with water with the help of a painting brush. When it is semi dry roll the bead in a bit of glitter powder to make it more decorative. Make some more beads in the same way and string them together to make a cute bracelet or a necklace. More on paper crafts and beading for beginners.

How to Make Paper Beads from Newspaper
Now that you know how to make paper beads with different types of decorative paper, we will guide you on making paper beads craft out of old newspaper. For this the materials required are,
?Few sheets of old newspaper
?Water
?Strong glue
?Sandpaper
?Acrylic paint
?Varnish
?Ribbon
Method

First rip the old newspaper into small pieces until you have a large pile of it. Place the ripped newspaper in a large pot and pour boiling water over it so that the newspaper is fully covered. Allow it to sit for an hour and stir it continuously after every 15 minutes. After an hour, drain out the excess water from the pot and add around half a cup of glue, so that the paper now resembles the texture of mashed potatoes. Now roll this mixture in your hands to make small paper beads and let them dry in the sunlight for 2 to 3 days. When the paper beads are completely dry sand it down with sandpaper to smooth out any rough edges. Drill a hole in the paper beads and paint them with acrylic colors. After the color of the paper beads have dried, give them a coat of varnish so that they last a long time. String a colorful ribbon through the beads to make a unique, one of a kind necklace.

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Beads may be divided into several types of overlapping categories, based on different criteria such as component materials, manufacturing process, place or period of origin, surface patterning, or general shape. In some cases, such as millefiori and cloisonn

Man has made glass beads for more than 2,000 years and has used them in many ways, from decorations to currency. Techniques of the glassmaking industry were trade secrets until the early 17th century. A popular method of bead making produces “lamp worked” or “wound” beads, so-called because the glass rods were heated in the flame of an oil lamp and the molten glass was wound onto a rod.
Instructions.Things You’ll Need:

?Work Boots
?Clean Rags
?Exhaust Fans
?Torch Kits
?Vermiculite
?Clean Rags
?Pipe Cleaners
?Fire Extinguishers
?Matches Or Charcoal Lighters
?Fire Extinguishers
?Didymium Lens Safety Goggles
?Emery Cloths
?Mandrels
?Pliers
?Workbenches
?Pliers
?Pipe cleaners
Getting Ready

Step
1-Coat a mandrel (a metal rod for building beads) with bead release (a fireproof material for coating a mandrel) by dipping it into the jar. Let it dry.

Step
2-Secure a propane, MAPP or oxygen-propane torch to a heatproof work surface with a clamp or place it in its stand.

Step
3-Wipe any dust or oil off a glass rod with a clean rag to prevent contamination.

Step
4-Put on didymium lens safety glasses.

Step
5-Light your torch with a sparker or barbecue lighter with the gas on low, turning it up when lit.

Making a Bead

Step
1-Heat the coated mandrel in the flame, moving it behind the flame when it becomes hot.

Step
2-Warm the glass rod slowly in the outer part of the flame. Moving the rod in and out of the flame at first will help to prevent the rod from popping.

Step
3-Bring the glass rod into the hotter part of the flame as it starts to glow.

Step
4-Rotate the glass rod as the glass melts until a blob forms. The molten glass will have the consistency of thick honey.

Step
5-Touch the tip of the blob to the coated part of the mandrel through the flame.

Step
6-Rotate the mandrel to wind the melting glass onto the mandrel.

Step
7-Pull the glass rod away when the wound glass is big enough, separating the new bead from the melting glass rod.

Step
8-Rotate the new bead in the hot part of the flame until any irregularities even out.

Step
9-Rotate the new bead against a marver (a flat, heatproof ceramic, metal or graphite surface) if shaping is desired.

Step
10-Keep rotating the mandrel until the glass stops glowing.

Step
11-Cool the bead slowly in a fiber blanket or heated vermiculite.

Finishing Your Bead

Step
1Allow the bead to cool to the touch (approximately 30 minutes).

Step
2-Grasp the mandrel with pliers and the bead with your fingers, and twist and pull the bead from the mandrel.

Step
3-Clean the bead release out of the bead hole with a small brush or pipe cleaner.

Step
4-Wipe your bead with a cloth to remove any dust or fingerprints.

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BACKGROUND OF THE INVENTION

[0001]1. Field of the Invention

[0002]The present invention relates to acrylic resin expanded beads, acrylic resin expandable beads, and a method for manufacturing a foamed molded article of acrylic resin expanded beads.

[0003]2. Description of the Related Art

[0004]A model composed of a foamed molded article obtained by filling a metal mold cavity with polystyrene resin expanded beads and heating and molding the beads has been used in the past in a full-mold casting method in which a model is placed in a casting mold, molten metal is allowed to flow into the mold, and a casting is produced while replacing the model in the casting mold with molten metal. With a model of a very large casting, such as a ship’s propeller or a press mold, a plurality of foamed molded articles that have a length of 1 or 2 meters, a width of 1 meter, and a thickness of 50 cm (hereinafter such foamed molded articles will be referred to as block foamed molded articles), for instance, are pieced together with an adhesive agent, machined into a large, cuboid foamed molded article of the desired size, and then precisely cut into the desired shape with a milling machine. However, a problem encountered with a full-mold casting method that makes use of a model composed of a foamed molded article of a polystyrene resin is that the polystyrene resin foamed molded article is pyrolyzed and generates soot upon contact with the molten metal during casting, and this soot tends to become admixed in the casting and produce carbon defects therein. Ways to solve this problem have been discussed in, for example, Japanese Laid-Open Patent Application No. 2001-233986, Japanese Patents No. 2,730,703 and No. 2,632,402, which disclose an acrylic resin foamed molded article in which the base resin is a polymethacrylic ester resin that is favorable for use as lost mold or the like in full-mold casting.

SUMMARY OF THE INVENTION

[0005]However, a conventional acrylic resin foamed molded article is obtained by what is called an in-mold molding method, in which acrylic resin expandable beads containing a blowing agent are pre-expanded ahead of time, and these are filled in a metal mold cavity, heated, and cooled, but if an attempt is made to obtain one of the above-mentioned block foamed molded articles, cooling take an extremely long time, which decreases productivity, so there was room for improvement to this method. Specifically, in the manufacture of a full-mold casting model by machining a block foamed molded article on a milling machine, end mill, or the like, unless there is adequate fusion between the expanded beads in the block foamed molded article, expanded beads fall out during cutting and an accurate cutting face is not obtained, which then requires repair with putty or the like after machining, and makes the manufacture of the model more complicated. Therefore, a block foamed molded article used for making a model needs to have excellent fusibility between the expanded beads. To obtain a foamed molded article with excellent fusibility between the beads using the expanded beads described in the above-mentioned Japanese Laid-Open Patent Application No. 2001-233986, Japanese Patents No. 2,730,703, and No. 2,632,402, it is necessary to use steam or the like to thoroughly heat all the way to the expanded beads filled in the center part of the metal mold cavity. However, if the heating and molding are performed at a temperature that afford adequate fusion all the way to the expanded beads at the center, then the resulting foamed molded article takes a long time to cool, which is a problem in that it greatly decreases manufacturing efficiency. It is an object of the present invention to provide expanded beads with which these problems encountered in the past can be solved.

[0006]Specifically, the essence of the present invention is as follows:

[0007]1. Acrylic resin expanded beads in which an acrylic resin serves as a base resin, wherein the bead surfaces have continuous ridges in a mesh pattern.

[0008]2. The acrylic resin expanded beads according to Claim 1, wherein the average size of the mesh openings surrounded by ridges is from 4 to 40 .mu.m per opening.

[0009]3. The acrylic resin expanded beads according to Claim 1, wherein the base resin is a copolymer of a methacrylic ester monomer and an aromatic vinyl compound.

[0010]4. The acrylic resin expanded beads according to Claim 1, wherein the average cell diameter is from 30 to 150 .mu.m per cell.

[0011]5. Acrylic resin expandable beads containing a blowing agent for manufacturing acrylic resin expanded beads having continuous ridges in a mesh pattern on the bead surfaces, wherein at least one member selected from among liquid paraffin, higher fatty acid esters, and olefins is added in an amount of 0.1 to 3 parts by weight per 100 parts by weight of a base resin.

[0012]6. The acrylic resin expandable beads according to Claim 5, containing an organic physical blowing agent with a boiling point of 80.degree. C. or lower as a blowing agent.

[0013]7. The acrylic resin expandable beads according to Claim 5, containing a C.sub.3 to C.sub.6 hydrocarbon compound as a blowing agent.

[0014]8. The acrylic resin expandable beads according to Claim 5, wherein a blowing agent is a pentane.

[0015]9. The acrylic resin expandable beads according to Claim 5, wherein an average bead size is from 0.3 to 2 mm.

[0016]10. A method for manufacturing a foamed molded article of acrylic resin expanded beads, wherein a mold cavity is filled with the acrylic resin expanded beads according to any of Claims 1 to 4, and the expanded beads are heated within the mold cavity and fuse-bonded together, cooled, and then taken out of the mold cavity.

[0017]11. The method for manufacturing a foamed molded article of acrylic resin expanded beads according to claim 10, wherein the smallest dimension of the space inside the mold cavity during in-mold molding is at least 15 cm.

[0018]The acrylic resin expanded beads of the present invention allow a foamed molded article with excellent fusibility between the expanded beads to be manufactured in a short cooling time, even with a thick foamed molded article such as a block foamed molded article, and the molding cycle can be improved. Also, the expanded beads of the present invention lend themselves well to pyrolysis, which is an advantage in that less soot is generated during pyrolysis. Therefore, with the expanded beads of the present invention, a foamed molded article that can be cut extremely well and is favorable as a model for full-mold casting can be molded efficiently.

BRIEF DESCRIPTION OF THE DRAWINGS

[0019]FIG. 1 is an electron micrograph of the surface of an expanded bead, and illustrates the continuous ridges formed in a mesh pattern on the surface of the expanded beads of the present invention;

[0020]FIG. 2 is an electron micrograph (magnified 200 times) of a cross section of a expandable bead in Example 1;

[0021]FIG. 3 is an electron micrograph (magnified 1000 times) of a cross section of a expandable bead in Example 1;

Brief Patent Description - Full Patent Description - Patent Application Claims
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This zebra design bicone is made using gravity as the primary “tool” for shaping the base bicone bead as well as creating the zebra design.

While this is not a complex bead to make, these instructions assume you already know how to make a bicone (or other cylindrical/barrel shaped) bead. Its use of gravity as the primary tool in shaping the design on the surface of the bead is well explained in Jim Kervin’s book, “The Classic Bead Shapes of Jim Smircich and His Amazing Control of Heat” published by GlassWear Studios, in his tutorial on Jim Smircich’s Wavy Bead.

Here is an example of a basic Wavy Bead created using gravity to create the “waves” in the the colored lines. The 6 lines of color were drawn straight across the already shaped black bicone, bead hole to bead hole, and evenly spaced around the bead. A focused flame combined with gravity were used at two points along the bead to make the “waves”.

Adding The Stripes

Using a white stringer (in this case, I used a premade stringer from Frantz Art Glass), stripes are drawn down the length of the bead; bead hole to bead hole. This varies from the traditional Wavy Bead in that they are not all perpendicular, nor are they necessarily evenly spaced around the bead. The specific design is up to you, but I suggest running some the full length of the bead, others only partially down the bead. Some lines should be perpendicular, but what really makes the zebra design somewhat “authentic” is the lines that meet another line at approximately a 45 degree angle or less, forming sort of a “Y” shape.

Remember, all stripes drawn are straight - no curves! I apply the stripes to the bicone a little differently than other stringer work. I hold the mandrel perpendicular to (and just to the left of) the flame. I start from the far end of the bicone and draw a fairly thick stripe toward me. If the stripe is to extend all the way from end to end, make sure you start and end the stripe at least at the “shoulder” of the bead hole, which is the point where the bead starts to round down into the “pucker” (another Jim Smircich “classic”). This will help keep the pattern all the way to the end of the bead, even after remarvering the ends.

Melting In The Stripes

Next, heat the stripes until they are fully melted into the bicone. The only thing to remember here is that you aren’t trying to modify the design just yet, simply melting in the stripes without losing your well-formed bicone. To do this, you do not want to get the bead yellow hot - you just want it heated enough to melt in the stripes without disturbing the core of the bead too much. You may need to remarver the ends, but it isn’t necessary to make it “perfect” at this point as you will do final shaping later. However, you always want to minimize the amount shaping required after you finish the design, as too much final shaping will likely alter the surface design.
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This condition accounts for about 50% of the cases in which we implant gold beads. Our cases ranged from 4 months to 17 years of age. Most dogs were large breeds, or dogs >50 pounds body weight. We have treated 2 Pekinese dogs for hip dysplasia. The size of the dog does not have a bearing on the success of the gold bead implant. Age does have the greatest effect on the success of gold bead implant. We break the age group into 3 classes. Under 7 years of age we have a 98% success rate. From 7 to 12 years of age we have about 80% success rate and from 12-17 years of age we have about 50% success rate. The number one cause for our failures in hip dysplasia is secondary degenerative myelopathy.

Degenerative myelopathy is considered by most experts to be a totally separate condition, but I have never seen it show up as a condition by itself. There has always been another concurrent problem. In my opinion, degenerative myelopathy begins as a localised alkalosis in the hip joint. In a small percentage of the dysplastic dogs, the localised alkalosis starts to involve the local nerves and eventually spreads to the spinal cord. The alkalosis of the cord eventually causes demyelination of the cord. At some point we are unable to reverse the alkalosis and demyelination of the cord. When this happens, there is a progressive, irreversible degenerative myelopathy and the dog cannot walk. The gold bead implant will reverse the degenerative myelopathy in about 50% of the cases. We are not able to look at these dogs before the implant and know which ones we can help. We cannot help dogs if they are unable to support their weight and the rear legs are basically reduced to skin and bone with very little muscle. If the dogs still have some muscling and can intermittently get up, we can help about 50% of them.

An apparent but temporary success may follow gold bead implantation in a small group of dogs with degenerative myelopathy. They seem to be good for 3-9 months, but then they deteriorate. All such dogs have been about 9 years old. I have spent much time on degenerative myelopathy, but this is a major problem in small-animal practice. Let it not deter you from doing gold bead implants.

When implanting gold bead for hip dysplasia, we begin with 4 basic points: GB29, BL54, GB30, and GB33. These points need treatment in all dysplastic dogs. Other points that need to be implanted fall into 3 Zones. Zone 1 is dorso-anterior to GB29. Zone 2 is dorso-anterior and dorso-posterior to BL54. Zone 3 is dorso-posterior to GB30. GB31 and GB32 are the main exceptions to the rule; they need to be treated in some dogs.

The next set of points to be implanted are in 1-2 of three Zones around the hips. These points usually are Ahshi / trigger points. Zone 3 needs treatment least frequently. One rarely must use all 3 Zones. To find the next point, draw a line midway between GB29 and BL54 and go dorsal 0.5-1.0 inch. If a point is sensitive, place gold beads into it (A). Then search for point tenderness midway between BL54 and GB30. Go dorsocaudal to this area 0.5-1.0 1 inch. Implant gold beads into any sensitive point there (B). If point (B) does not show up, then there usually are no more points in Zone 3.

Then search for two sensitive points ventral and dorsal to point (A). Go halfway between GB29 and point (A) and search anteroventrally. Place gold beads in any sensitive point found. If there are no more sensitive points, move halfway between point (A) and BL54 and search anterodorsally. Implant any sensitive points found there. Implantation of the hips is complete when one can find no more sensitive points in the area.

When implanting gold beads for hip dysplasia, both hips should be treated at the same session. However, a single hip can be implanted in special cases. For example, some dogs have one normal hip and one bad hip. The bad hip may look like a dysplastic hip, but such hips were usually have been traumatised by their dam shortly after the birth of the pups. In those cases, only the bad hip needs treatment. Traumatic injury of one hip that has resulted in a femoral head resection or a hip replacement surgery may need to be treated with gold bead implant similar to hip dysplasia.

When we treat hips with gold bead implants, we see mostly local effects, and very little systemic effect. GB29, GB30, and BL54 work locally on the joint and the other trigger points work mostly on the surrounding muscle.

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Knitting patterns are, for the most part, pretty straightforward. This article is designed to break down and define each section of a knitting pattern so you’ll know what information to expect in what section. Not all patterns follow these guidelines, but most do.

Usually the page will start off with a title and photo of the finished product. These are standard and self explanatory. Now on to the juicy stuff:

Skill Level Easy, Medium, Hard or Beginner, Intermediate, Advanced are examples of the information listed here. A quick glance here is how to tell if a pattern is within your skill level.

Here are a few examples of what kind of projects you might find in each skill level:

Easy/Beginner

You’ll probably find a lot of scarves here, as well as potholders, place mats, handbags, some afghans and even a few sweaters.

Medium/Intermediate

Stocking caps, cable knitted scarves and sweaters, afghans with alternating stitch patterns and most knitted tops fall under this skill level.

Hard/Advanced

Generally, if an item has a very intricate stitch pattern, it’s likely to be in the Hard category. Knitting pictures and designs would definitely be a more advanced undertaking, as would any type of knitting that requires a lot of shaping.

Sizes, Finished Measurements
Generally the main size is listed in normal font with all other sizes in parentheses. Example: S(M, L). When you read the knitting instructions further down in the pattern, the first set will apply to the main size, with adjusted instructions for other sizes in parentheses. Also in this section you should see total finished measurements for this project.

Materials
Any thorough pattern will list in detail what materials you’ll need to complete the project.

-Yarn: Since yarn weights vary by type, look for patterns listing yarn in length, that way you can substitute a yarn and still know how much to get. -Needle Size: You should find information on the needles and needle sizes used to complete this pattern. -Miscellaneous Supplies: If you need stitch markers, cable needles or any other miscellaneous supplies, the pattern should list these here as well.

Gauge
The gauge section should read something like this: 10 sts + 10 rows = 4″ in Stockinette. This information is what you’ll use to check your gauge.

Pattern
This is where the actual knitting begins. The pattern tells you what stitches to use in what sequence to create the project named at the top of the page. A complete pattern will also include a list of the abbreviations used, but in some cases, it’s assumed everyone knows what those abbreviations mean. Even advanced knitters have trouble with this sometimes.

Some Important Points to Remember

When following any pattern, it is imperative that you: -Test your gauge before starting. There’s nothing worse than getting an hour into a project to find it’s 6 inches too narrow because your yarn is a smaller weight than the pattern calls for. -Buy all the yarn for the project at the same time. Dyed yarns have “dye lots” and it’s important to get all of your yarn for one project from the same dye lot. If you don’t, you have a good chance of getting different shades of the same color throughout yourknitting. -Take a break if you’re frustrated, as you’re sure to be at some point. Knitting is a fun and relaxing hobby, don’t let it turn into a chore to get that afghan or poncho finished!

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