Green Options » Autumn Wiggins

Giving Crafts a Fresh Coat of Milk Paint

Autumn Wiggins — Wed, 02 Jul 2008 21:15:17 +0000

Mooove over acrylics, milk paint is back. In recent years, this medium has been popular for historical furniture reproduction, and even as a natural alternative to latex for interior walls, but have you considered using it for your latest DIY creation?

Found in everything from cave paintings to King Tut’s tomb, this handmade substance was a predominate component in decorative art for at least a few millenia, until the industrial revolution came along. Casein, the protein found in milk, makes an extremely durable binder for pigments to adhere to most porous surfaces. The rustic finish is not usually desirable for fine art, and it fell out of favor all together with the advent of convenient, but far more volatile, canned paint.

High demand in the home improvement market for water-based low or no VOC coatings has brought eco-friendly technology to mainstream retail stores, but I have yet to see it available in the small sizes that artists and crafters lean towards.

Making your own milk paint can be an inexpensive, natural alternative to collecting a zillion little plastic bottles of mass produced polymers. If acrylics are not disposed of correctly, synthetic resins can seep into ground water. Although most craft paints are non-toxic and water-based, their manufacturing and shipping contribute to pollution as well.

There are as many different ways to make milk paint as there are applications. It can be created quickly from dry powdered milk as needed by mixing 1 part powdered milk to 1 part water, and adding a color concentrate to achieve the desired shade. You could experiment with food coloring, Kool-Aid or cake dyes to start, but to go au natural, you’ll need pigments. I’ve listed some good tutorials and recipes below, as well as natural pigment suppliers. If I’m not mistaken, many of these pigments serve a dual purpose to dye fiber. I’ll be covering this subject in an upcoming post.

So, consider the possibilities….create your own textile designs on organic cotton, brighten up some old furniture, turn plywood trash into an art piece, or give your pet rock a bit more personality. Whatever the application, this is an eco-friendly alternative for one of the most problematic commercial supplies in existence:

Milk Paint Recipe on Appropedia

Fabric Milk Paint Instructions at Helium

Powdered Tempera Milk Paint Recipe at eHow.com

Milk Paint Supplies at NaturalPigments.com

Milk Paint Recipes and Pigments at EarthPigments.com

Do you cry over spoiled milk? These companies offer milk paint in a dry form that is pre-mixed with pigments. The Old Fashioned Milk Paint Company even has a product called “Safe Paint” that can be used on non-porous surfaces:

The Old Fashioned Milk Paint Company

The Real Milk Paint Co.

Image credit: meantux on Flickr under a Creative Commons license

Labor of Love: 70 Hours of Sheer Bliss

Autumn Wiggins — Fri, 27 Jun 2008 05:54:44 +0000

Comic Relief is a Natural Pain Killer

I don’t remember exactly what time my first son was born or how much he weighed. In fact, I didn’t even see his face till 12 hours later.

My pregnancy was pleasant for the duration. Besides a bit of morning sickness, everything was going fine and I wasn’t looking much different weight-wise, save for the belly. As 2 weeks past my due date approached, despite trying everything in the book, there wasn’t even the slightest hint of impending labor. I went into the hospital at 5 a.m. on a Monday morning, and began a Pitocin drip at 6. The contractions started around noon. I kept a zen-like focus on being kind to those around me, taking walks, and sitting on a yoga ball to bounce out the pain. My water broke early that evening. I played a lot of Mario Bros. on my Gameboy between moments of writhing in agony. My husband was sleeping on a cot at the foot of my bed with a pillow over his head. I have to admit, my shrieking chant of “ow.ow.ow.ow.ow!” was a tad annoying. Once in awhile, a doc would come in to check my progress. By sunrise I had achieved one whole centimeter!

“Are my contractions whimpy?” I asked a nurse that morning. “Nope, full strength.” she answered. Now, this hospital was full of women in labor. They had a poor girl across the hall sitting on an easy chair in what looked like a broom closet. I figured no matter how bad it got, I should be pleasant to the staff, and even my husband. However, when my mother-in-law strutted through the door toting a Fisher Price tape player and an ocean waves relaxation cassette, insisting it would help, I considered throwing my pillows at her. As Tuesday night approached, I had dilated to 2 centimeters, and lost my battle against begging for drugs. They gave me Demoral. If you want the experience of feeling like you just polished off two pints of vodka through a beer bong, but can’t pass out or puke, and still endure your contractions, I highly recommend trying it.

Wednesday morning the Demoral wore off. I think they felt sorry for me, and proclaimed I was at 2 and a half centimeters! The doc approved an epidural…which I didn’t receive till 4 hours later. By the time that kicked in, I was relaxed, but starved. An IV isn’t all that filling. The same nurse I had on Monday poked her head in the room smiling, “I asked if I could take care of you again…you’re such a sweetheart”! She was actually the sweetheart, because under very hush-hush conditions, and against the doctors orders, she snuck me in a hamburger with a side of baked beans. It was the most delicious thing I’d ever eaten.

This was an ideal time to make a phone call to my unsympathetic mother in Florida. She was getting ready for a trip to Alaska to meet her internet boyfriend.

Friends came and went, I watched The Matrix and played more Game Boy. I tried to take a nap, but the pressure of the contractions was distracting. As the sun set on Wednesday, we reached 3 centimeters.

Late Wednesday night exhaustion was setting in. I was incredibly thirsty, and savored every gulp of melted ice chips I could stand to wait for. Eventually, I enlisted husband to sneak my cup into the bathroom and fill it with water. After a nice long chug, I puked up every bit of it. Then, I hit 4 centimeters. Hmm. Let’s try that again. Five centimeters.

I told my nice nurse about the upchuck phenomenom. She jumped on board. Wednesday turned into Thursday, and I was getting very weak, I think it was around 3 a.m. when my doc told me our pulses were slowing down, and I had to have an emergency c-section. You may be thinking, “Well, it’s about time”! However, I was still trying to champion this vomiting = dilation theory.

I don’t remember much about the surgery. Just feeling the pressure of all those hands pulling on my stomach, and hearing “whoa, this one’s beanpole!” as they delivered him. At that moment I passed out into a very deep sleep.

My husband would later tell me that after they closed me up, I began farting like a freight train. Him and the nurses were laughing hysterically. He even made a few phone calls amidst the flatulence, but those baked beans were WORTH IT.

I woke up around 4 p.m. in a strange room next to a strange woman, and couldn’t wait to see Jack. It was very odd when they brought him in a few minutes later… not the bonding experience I had anticipated. It actually took me a little bit to convince myself that I this was my kid. He was blonde with blue eyes like his daddy, and very, very long. I breast fed for a couple weeks, but it seemed like my spigots wouldn’t shut off, so I had to stop the messy affair if I had any hopes of ever leaving my house. Jack was incredibly content, observant baby, and remains that way. Today I have a 4 ‘2 inch 7 year old that has dismantled and reassembled 1 computer CPU. 2 VCRs, 2 DVD players, 3 sets of speakers, amongst other varied electronic equipment. He draws schematics and builds robots. Out of a unique birth experience, I got a unique and patient child.

Six weeks after that lovely ordeal, I became pregnant with Max. VBAC? Over my dead body. I’ve been in enough labor to count for all the children I will ever have. The coolest thing about having a planned C-section is getting to choose the day. Since Jack was born on 2/22, I chose 1/11 for Max’s birthday, and those dates are exactly 6 weeks apart. During this pregnancy, I wanted to listen to nothing but metal music, and ran up a credit card from my very expensive craving for filet mignon. During my second C-section, they hit a nerve while administering the spinal, and it felt like a bolt of lightning went down my right leg. It hurt, but I was more fascinated than anything, and continued to talk about it while they were delivering him. I really disliked the sound of my guts squishing around, and didn’t remember hearing that the last time. Max was appropriately named. He certainly is a wild thing, and about a head shorter than Jack. So, people don’t really bring up that they must be close in age. That’s OK. I got really bored with all the “irish twins” references when they were babies.

Yes, I’m a little unsentimental about child birth. There was much dismay when I refused to buy the utterly overpriced hospital portraits. I didn’t have baby showers. I followed my instincts and co-slept. I don’t let anyone, any book, or any tradition dictate how I raise my kids. I encourage their interests no matter how unconventional, and I’m so lucky I get to be their mommy.

Photo Credit: Jack Wiggins

Strange Folk Festival 2008

Autumn Wiggins — Thu, 26 Jun 2008 02:54:05 +0000

Besides filling the role of fearless leader here at CAGW, I’m the “strange girl in charge” of Strange Folk, an indie arts and craft show right across the river from St. Louis, MO. This will be our 3rd year, and there’s lots of great new shtuff in store. For starters, we’ve extended the event to two days: September 27th and 28th, 2008.

Vendor applications are now being accepted on our website thru July 6th. Last year we hosted 100 vendors from across the country, and will be accepting 120 for this year’s event. I’m giving Crafting a Green World the inside scoop, because we are aiming to make Strange Folk eco-friendly as well.

The great thing about promoting indie craft shows is that they draw a huge following online. Many have been very successful at tapping into their target audience through MySpace, Facebook, or online ads. This cuts out a huge chunk of advertising expenses, which makes it possible to charge pretty reasonable fees to the vendors. At least, this has been my experience. However, marketing efforts wouldn’t seem complete without painting the town with posters and flyers. Not to mention, who doesn’t love shwag? Last year, as an incentive for people to start opening their wallets right off the bat, we gave out goodie bags to the first 100 people who showed us a vendor purchase at our info booth (they were gone in 15 minutes). We also sold the bags separately. They were made of cotton and contracted through a local printer. Then there’s decorations, print ads, paperwork, and over 5,000 attendees consuming everything from bottled water to BBQ…many of whom have driven 20 miles or more to get there.

Strange Folk has a lot of positive effects on my community, but our environmental footprint is Sasquatch sized. Other events, such as the Green Festival in Chicago, and even the 2008 Democratic National Convention are doing everything they can to go green, but it’s not perfect. Resources are limited, and I’m on a tight budget to begin with. Even if I have posters printed on recycled paper with soy based inks, toxic chemicals were still used to make the paper. It was still made of trees and probably can’t be recycled again.

It’s it’s misleading to make eco-friendliness a gimic these days. Very few things are truly green if you look at their entire life cycle. If people keep humming along thinking that reducing our environmental impact is going to solve everything then we are just prolonging the inevitable.

Even if I put up biodegradable balloons and give out bags made from recycled plastic bottles, maybe the only claim to be made is: it isn’t enough, but we did our best with what’s available.

I’ll keep you posted on all the strange festivities as the big weekend approaches. In the meantime, If anyone can point me in the direction of eco-conscious promo suppliers, or has tips on how to reduce our footprint otherwise, please leave comments!

The Shawn Bentley Orphan Works Act: How New Copyright Legislation Will Affect Indie Artists and Crafters

Autumn Wiggins — Mon, 23 Jun 2008 22:05:22 +0000

Amid a dwindling economy, a controversial war, and an incomprehensible environmental crisis, it’s easy to overlook the more “benign” pitter-patter of Capitol Hill. As modern makers we declare independence in a sense, through what we create, but count on the protection of copyright in order to exclusively maintain our intellectual property. The Shawn Bentley Orphan Works Act, if allowed to become law, will drastically weaken and complicate rights of individuals to pursue damages for copyright infringement. This legislation claims good intentions, yet has been drafted with dangerous loopholes.

I urge the indie craft community to take a closer look at this bill, and act quickly… it was introduced to congress on April 24th, 2008, and is rumored to be fast-tracked to a vote.

In this special two-part post, I will introduce you to the legislation, and Skye will jump in later with some advocacy tips.

Currently, any work you produce is automatically protected under copyright law for your lifetime + 70 years. This includes pictoral, graphical, sculptural, and literary creations, which are common among crafters. It does not require you to use a “c” symbol, or register it with the U.S. Copyright Office. The fee for you to do so is $45, and will allow you to sue for statutory damages in the instance of a lawsuit. Even if you have not registered your work, you can be awarded losses suffered, profits gained by the infringer, and recover attorneys fees. Should you produce a “work for hire”, you essentially transfer your copyright to the business in which you are contracted with. Under Creative Commons licensing, you can voluntarily endow rights to the public to use the work.

Due to the consequences of infringement, most individuals and companies avoid reproducing any work without arranging compensation with the artist upfront, or at least getting permission. However, ample exclusions are afforded under Fair Use for works of parody, and limited reproduction by academic institutions, libraries, and charitable non-profits. When interest arises to use a work, whether it be in an original or altered form, the copyright holder may not be known or cannot be contacted. Therefore, many works may not live up to their full potential of public exposure, commercial profit, or derivative creativity. Tough cookies, right?

Concern about this has been expressed by those who wish to use this copyrighted material. Senators Orrin Hatch and Patrick Leahy tapped the U.S. Copyright Office to conduct research on solutions for what are innocently referred to as “orphan” works. A notice of inquiry was released in 2005, and in 2006 they filed this telling report. As you read through, you might notice some interesting suggestions made by companies such as Microsoft, Google, Creative Commons, Getty, and the Association of American Publishers, to name a few.

Based on these recommendations, the Orphan Works Act was drafted. The 2006 version died in a judicial committee. The re-introduced bill aims to remedy a few of the objected formalities, but is essentially the same:

The Sean Bentley Orphan Works Act of 2008 (full text)

In very broad terms it states that legalized infringement whether private or commercial will require a “diligent” search for the owner of the copyright before proceeding with use. These searches can be carried out on the internet through any number of registries created by the private sector whom may charge a fee for their use to artists and searchers alike. If the work is not listed in the registries the user chooses to search, they may use the work for any private or commercial purpose, and can even create a derived work subject to it’s own copyright. If the author of the work does come forward, they are only entitled to “reasonable compensation” to be determined between the two parties or a judge, and may not sue for additional damages or attorney fees. The artist will no longer have the upfront advantage to deny permission or negotiate their fee.

The Berne Convention, the basis of regulation for international copyright, states that no creator be required register a work to gain a copyright. Orphan Works claims to bypass this requirement, since registering is voluntary and relies on registries created by the private sector. Indeed, corporations that deal in web search and image cataloging technology were deeply involved in drafting the bill, and stand to gain a windfall of profits upon it’s inception. However, for artists, this is at very least, a logistical nightmare.

This legislation has been opposed by several organizations such as the Illustrators Partnership of America, the National Union of Journalists, The American Association of Independent Music, the Association of Medical Illustrators, the Association of American Editorial Cartoonists (AAEC), the National Cartoonists Society (NCS), and the Advertising Photographers of America, among others.

I have sifted through a lot of information about Orphan Works, and here is my round-up of what’s worth checking out:

How the Orphan Works Bill Affects Visual Artists

Frequently Asked Questions About Orphan Works

Orphan Works - A Unique Set of Myths and Facts by John Harrington

Audio Interview with Brad Holland of the Illustrators Partnership - Brad helped to get the 2006 version of Orphan Works canned. He offers an interesting perspective.

There is a lot of talk as to what’s at stake for artists and authors, but some confusion exists about copyright among crafters. U.S. Copyright Code designates visual art of that which is “pictoral, graphical, or sculptural”. Some things we make might be considered sculptural, but if your item can be designated as a “useful article”, it no longer enjoys the protection of copyright. Say you design and sew a tote bag and screen print your own drawing on it. The drawing is protected, but the tote bag design is not. Also, the photograph you take of said tote bag is copyrighted.

Incidentally, a separate bill recently introduced that would change copyright code is the Design Piracy Prohibition Act (full text). If passed it would protect designs of the following items: men’s, women’s, or children’s clothing, undergarments, outerwear, gloves, footwear, headgear, handbags, purses, tote bags, belts, and eyeglass frames.

I see this as a double-edged sword for crafters. The rampant use of indie craft aesthetics in retail apparrel really burns me up. Yet, many of us gain inspiration from fashion trends. Also, I’m not entirely clear on what would be defined as a dirivitive work in these situations. Here are a few articles I found about it:

Wikipedia - Design Piracy Prohibition Act

Forever 21: Knocking it Off?

Design Piracy Prohibition Act: Historical Regression

My understanding is that if this passed, design would fall under the jurisdiction of Orphan Works as well. From what I can tell, no one has addressed the ramifications of that.

Should Orphan Works become law, it does offer one advantage to crafters. It would open up opportunities for us to use imagery outside the public domain in our creations. So, I’m just wondering… would you?

Image credit: ax2groin on Flickr by a Creative Commons license

Rock Beats Scissors? FiberStone Tree-Free Paper Begs to Differ.

Autumn Wiggins — Wed, 18 Jun 2008 13:00:53 +0000

Cradle to Cradle by William Mcdonough & Michael Braungart may be the world’s most environmentally friendly book. Not only will it give you an entirely new perspective on how we manufacture things, but you can read it while snorkeling. The pages are made of non-toxic plastic resins and inorganic fillers combined to form a durable, waterproof paper that is infinitely recyclable. These characteristics also exist in a new substrate being produced by Natural Source Printing called FiberStone.

From their website: “FiberStone is made from 80% Calcium Carbonate (CaCOз) with a small quantity (20%) of non-toxic resin (HDPE- High Density Polypropylene). The Calcium Carbonate comes from limestone collected as waste material from existing quarries for the building and construction industry.”

The bottom line is that no trees are cut down, no water is consumed, no bleaching chemicals are used, and no air pollution is created. Along with being waterproof and recyclable, it is also tear resistant. They offer a wide range of products such as marketing and packaging materials as well. Does this sound like a dream come true for some of you struggling to find ways to reduce the environmental impact of your creations and microbrands?

I asked a representative from the company a few questions with the indie craft community in mind…

Do you need any special equipment or inks to print on this paper?
It can be printed offset/lithographically, gravure, screen printed, inkjet, or on a solid ink printer such as a Xerox Phaser.

Will you be offering your products online to individuals?
There is so much interest from corporations and smaller companies that we cannot offer it to individuals with small runs at this time.

Any different colors or textures available besides white?
It is only available in white. We can emboss textures into it. It has a brightness of 92.

Any possibility you will partner up with an art/photo printing site to be included as an option?
Sounds interesting. I’d love to explore this further.

Do you offer bookbinding or have plans to make that available?
On larger runs, yes.

This is not the first time I have ran across an amazing eco-friendly material that would be widely embraced by our community, yet is practically unattainable. Many companies like this focus on consultation and sales to other established businesses rather than to the general public or cottage industries.

I wonder though, could groups of crafters mobilize and create co-ops to purchase specialized materials? Might these companies be responsive to ideas about how they can cater to artists and crafters while tapping into a lucrative and under-served supply niche?

I think this product would be of obvious interest to those who scrapbook or create art (that goes for a lot of us). Also, thousands of indie entrepreneurs rely on promotional and labeling materials to market themselves, and compete with the pizazz of commercial packaging.

Most national craft supply chains seem out of touch…only appealing to the indie crowd minimally, as if they are waiting out a trend. Hopefully they will come around, but it likely won’t be a significant effort anytime soon. Bypassing these stores to acquire green options in existence is becoming increasingly necessary. Upcycling demonstrates our inventiveness, but does not present a long-term solution.

The modern craft resurgence has been a catalyst for thousands of microbrands. In this realm, personal responsibility meets product fabrication, and independent art gives mass media a run for it’s money. It makes sense for our community to be proponents of environmental innovation in our materials and substrates. As of yet, we do little more than ride the coattails of established retail trends when it comes to technology, though much of our merchandise thrives on resourcefulness and personal attention that big business cannot replicate. Ironically, some of them continue to capitalize on aesthetic styles we have initiated.

Perhaps our individualism has put us at a disadvantage when it comes to commercial supplies. The spectrum of our collective practices is vast and varied. Some artisans conceptualize a finished piece with clarity before acquiring their materials. Others enjoy the challenge of refurbishing existing objects, and excel at collecting more of the same treasures. I have met thrift store enthusiasts that dismiss the need for modern commercial supplies altogether, and designers whose vitality rests on the consistency and availability of mass manufacturing. It’s been futile trying to define our genre, much less self-organize in the traditional sense. Yet, we continue propping up a huge community that nurtures creativity. It wouldn’t hurt to examine what possibilities we are missing out on because we don’t collectively pursue them.

My recent survey reflected that, overwhelmingly, we want our creations to encompass a cycle of sustainability. We all know that green practices in homes and business are helpful for the environment, but they don’t inspire people. Art propels world views, and for most of history, permanence has been a major factor in it’s value. Increasingly, this is at the expense of the planet. Michelangelo erected a few bronze sculptures, but he never had a practically limitless supply of plastic canvases and acrylic yarn to cross stitch with.

Getting back to this fabulous paper product…how thought provoking would it be to offer giclee prints of your latest doodles on waterproof paper with the clear statement of it’s intended lifecycle?

“This work of art has thus far created minimal environmental impact. At the wish of the artist, please submit it to the designated recycling program when interest in it has ceased.”

I admit, this is completely upside-down approach! Having worked at an art supply store, and as an artist, I can’t stress how important the term “archival” has become. It’s understandable that one would want to create their original art with potential to last indefinitely. The problem is that the moment it leaves your possession, you are no longer in control of it’s longevity. The idea that your creation might be revered as a family heirloom to be passed down for generations, find a permanent home in a museum, or become priceless long after you’re gone is a smidge unrealistic. We need access to materials that are durable and light-fast, yet have not wreaked havoc on living things, and better yet, will continue to be harmless if discarded of properly. Such is the case with FiberStone paper.

Now, where is my organic cotton duck canvas primed with natural gesso and mounted on stretcher bars made from recycled plastic bottles?

Maybe our cultural legacy lies in finding creative ways to eliminate the environmental footprint of creativity itself. I don’t think that means we should tip-toe around technology. After all, the vibrancy of the current handmade movement is largely due to the internet.

Bow-Chicka-Bow-Wow: Smelly Chicks Make Soap Porn

Autumn Wiggins — Wed, 11 Jun 2008 14:00:46 +0000

I found Smelly Chick’s Online Soapmaking Resource the other day, because they had blogged about my seed packet tutorial. Interestingly enough, the site includes “tutorials, soap porn, industry news, and more”.

Now, the term “yarn porn” is often thrown around in the craft world. In fact, you are reading a blog post by the proud owner of knittingwhorehouse.com (I collect domain names with the loftiest of intentions). But… “Soap Porn”? Smelly Chicks, you asked for it, and I’m going to goat’s milk this for all it’s worth. Ahem…

First of all, this site is sexy! As a web designer myself, I’m super impressed with the graphics and layout of their WordPress theme. The blog is has many interesting tidbits, not only for soapmakers, but anyone with a small craft business.

In the about section, site proprietor, Marr Williams, describes the hours of research she embarked on before completing her first bar of soap. I know how she feels. A couple years back I set out with the same intentions, only to be overwhelmed by the amount stuff you need to do this. Soapmaking is a no-looking-back sort of craft. Especially if you are wanting to make cold or hot process varieties, the materials involved are intimidating (namely, the lye) and somewhat expensive. Let alone trying to narrow down which scents to choose without accumulating a militia-worthy arsenal of essential oils. Still, there are few indulgences I find as satisfying as burying my face in a silky white lather of all natural ingredients.

When I finally surrender to my desire to make soap, I’m thrilled to know that the latest tutorials, lye calculators, and resources are all accessible from one place. Until then, my addiction to soap porn continues, and I’ll gladly pay members of Etsy’s Soaper Stars and Green and Clean street teams to fulfill my sudsing fantasies.

Remember, soap works best when you’re wet…I doubt I’ll ever use it to wash out my dirty mouth though!

Photo Credit: Pure Herbal Handmade Soap by Ginger’s Garden

If You Want to Destroy My Sweater, Turn it Into a Plush Toy.

Autumn Wiggins — Mon, 09 Jun 2008 05:16:40 +0000

I like to rock out with my sock out while crafting, but have always been a little conflicted about sock monkeys. It’s one of those items that are difficult to envision using recycled materials for, unless your feet smell magnificent. Also, I haven’t even finished the first sock I cast on about 2 years ago. So, hand knitting a few pairs from yearn-worthy yarn, only to cut them up, seems less than realistic.

I’m happy to report that Friends of Socktopus found a viable alternative. Handmade from recycled sweaters, these adorable soft toys are an imaginative use of an abundantly unwanted article of clothing. In their shop, you’ll also find sweater monkeys and owls, alligators…even kits to make your own.

Be sure to sign up for the “I’m a Friend oF Socktopus!” Sweepstakes on their website, and you’ll be entered to win a Deluxe Socktopus or your very own.

Printer-Friendly Grocery Shopping: Brown Paper Seed Packet Business Cards Tutorial

Autumn Wiggins — Thu, 29 May 2008 06:01:40 +0000

We all forget our reusable shopping totes from time to time. Instead of putting yourself on a green guilt trip, pick paper over plastic (ask your friends and relatives to also!), and upcycle those bags into some not-so-shiny seed packet business cards. Since I focus on the environmental impact of crafting, I decided any self-promotion should reflect my agenda. Plus, I’m ever enthusiastic about combining gardening with crafting. This is what I came up with, and they’ve gotten rave reviews. The process involves some unorthodox methods, but such is the way of the eco-craft ninja…

Gather your materials and ideas. Here’s what’s involved:

An inkjet printer
The seed packet outline template (download here in JPG or PDF file formats)
Embellishment option 1: A graphics program such as Adobe Photoshop or GIMP (free open-source software)
Embellishment option 2: Decorate the packet post-printing by hand
Embellishment option 3: Do both!
Paper grocery bags
Iron and scrap fabric
Scissors
Ruler
Pencil
Glue stick
Paper creaser or popsicle stick
1 can of wildflower seeds
Optional: rotary cutter with dedicated blade
Optional: stamps, stickers or other embellishments(as long as they don’t poke holes in the paper)

Create your design

You need only a basic knowledge of manipulating graphics to create a design with the template. Don’t fret over acquiring Photoshop if you don’t own it. I have been singing the praises of open-source options like GIMP and Inkscape for years now. If you are not adept to using this type of software, no worries! You can simply print the PDF file, then write, collage, stamp, or glue to your heart’s content. Here is a brief description of the steps I take using GIMP(for all you rookies): Open the template in your program. It’s 150dpi, and is sized to print at 8.5″x11″. You’ll want to work in layers for manipulating different elements. Create your design within one of the outlines. When you are done, save it in the native format(.psd for Photoshop or .svg in GIMP), so you can adjust later if needed. Now, simply merge down those layers, leaving the background free. Copy/paste the text and images, and align them on to the second packet outline (or do different designs, it’s your party!). Keep in mind that printing on brown paper means that white will not be a factor in your colors. They will be duller than what appears on the screen. That said, I have an inexpensive multi-function HP printer, and even light blue showed up nicely. Important text should be in bold or dark colors though, and keep it about 1/4″ from the fold lines as well. When you print, make sure to check the options for margins. If you can, set the printer to ignore them.

Turn bags into printer paper

All paper grocery bags that I’ve encountered have a single seam along the length of one side. You don’t want to print on seams, so rip or cut it open along that line. You won’t be using the bottom. Cut it out, or tear it apart so that the bag lays flat in a single layer. The point is to have as much surface area as possible to divide into 8.5″x11″ pieces. Using a scrap piece of printer paper as a template, place a ruler around the edges and trace/cut or rotary cut out individual pages. Yes, it’s against all convention to use your sewing cutlery on paper, but buy a dedicated blade for your rotary cutter, and I promise you’ll find it enormously useful for this and other projects. I made 3o Japanese stab bound books for Christmas presents last year, and opted to make this tool multi-use rather than buying a dedicated paper cutter. This also allows you to stack up to 3 layers of bags that you can cut through in one pass. For a standard size bag, you’ll get about 6 sheets of paper(12 packets). Once you have your sheets cut out, they will probably be somewhat wrinkly. So, we’re going to crossover to our sewing supplies again, and using a piece of scrap fabric as a buffer, iron out the sheets on med-high heat one at a time. This will help them to go through the printer smoothly, and make a nicer finished product.

Tips on printing

I think buying packaged specialty papers is to your printer as packaged patterns are to your sewing machine. It creates a predictable finished product, but both of these machines are potential avenues for experimentation. I have had no problem sewing through cardboard. Likewise, I’ve had no problem printing on regular fabric. More on that later, but let’s stick with the program. Load your paper bag paper with the blank side in the correct direction to be printed on in the paper tray. Keep the cleanest edge (one with the least folds or wrinkles) on the feed side. If you are printing your design, set your printer properties to a high-quality setting, and adjust the ink volume to medium-heavy or heavy. I got over 75 cards printed without putting too much of a dent in my notably puny cartidges. Print a sample or two, and adjust as needed. When trying this, I was pleasantly surprised by the sharpness of the images on the seemingly rough surface. I had one or two jams, but they were because I was messing around with the loading tray. No big deal. Again, I have a run-of-the-mill, front loading HP, any inkjet should work similarly. If you try, this and have any particular issues or tips for your model, please leave them in comments.

Cut, paste, and plant!

Cut out the individual packets along the lines. If you want to add additional decoration or hand drawings, now is the time. With the right side down, fold all the flaps in towards the middle, and crease using your popsicle stick or paper creaser(sometimes these are called “bone folders” though they are generally made from plastic nowadays). glue the large side flap over the top of the folded in bottom (the tapered end is the top) and opposite side flap. I find they stick better if you apply the glue to both surfaces being stuck together. Press and smooth out to seal, then let dry completely. Give them at least a few hours to set, then pour a tablespoon or so of seed mixture into the open end, and apply glue to both the flap, and packet surface to thoroughly seal. Smile about all random acts of guerrilla gardening you are setting into motion : )

I want you guys to be able to go nuts with this idea. So I’m releasing it under a Creative Commons license. That means you may “perform”, tweak, and publish this tutorial to your hearts content, even for commercial purposes. The only requirement is that you should acknowledge its use anywhere you might republish or showcase a derivative product online by linking back to craftingagreenworld.com. Here are just a few possibilities for hobbyists and entrepreneurs alike:

Enlarge the template image and use for packaging larger trinkets and such.

Are you a gardening enthusiast? Package your own seeds! Keeping them sealed in a cool, dry place should prevent any random sprouting. I’ve had no problem whatsoever with that.

Do you make and sell items for gardeners? This would be a great addition to a gift set.

Make them into tags by taping a loop of scrap paper on the back to attach with a string.

What else could you put in them? Emergency sewing kits? A small beading project? Surprise collectible pin-backs? Trading cards? Product samples?

Try sticky velcro to seal the top for larger reusable contents.

Go ahead, escape the the force of craft gravity. The sky is no longer the limit. This attribution requirement only applies to the fabrication described in my tutorial. You may attach your own copyright preference to any original imagery or artwork you apply in the process.

Brown Paper Seed Packet Business Cards by Crafting a Green World - Autumn Wiggins is licensed under a Creative Commons Attribution 3.0 United States License.

Meet your MAKER FAIRE: Me Crafty Jane. You Techie Tarzan.

Autumn Wiggins — Mon, 19 May 2008 03:57:06 +0000

Name how many men you know who own power tools.

Name how many men you know who own a sewing machine.

You might be shaking your head thinking, “Well, that’s obvious.”… because I tailored my request to resonate with women.

If you’re a guy, you’re probably wondering, “What is this crazy bitch getting at?” That’s OK, because I’m banking on the fact that most of our readers are, in fact, the gentler sex.

Maker Faire blows most craft shows out of the water in terms of vendors and exhibits. With an estimated turnout of 65,000 attendees, and over 500 “makers” exhibiting, it was almost surreal to witness. Though giving my presentations occupied me for a couple hours, I was free to roam the rest of the weekend, and still didn’t get to see everything. One thing I observed almost doesn’t need to be said. Male makers were a minority in the crafty corners of the event, and though women had a definite presence in the technology arena, they still seemed largely outnumbered, especially in robotics and other mechanical applications.

That’s not to say, that some of the most memorable exhibits were crafts with a masculine touch, or technology with a feminine touch. It’s common to see inclusions of one into another, but rarely does anyone jump into the deep end (from the high dive, no less) of a genre that is biased towards the opposite gender with few intentions of conformity.

Pictured at the top is no ordinary drummer. Meet Corey Fogel on “Purl Drums”. Well, you probably won’t get to meet him, because he doesn’t really make eye contact with anyone as he haphazardly bangs the skins while knitting in garter stitch. Morose, endearing, and epically unapproachable, this is no gimmick or demonstration. The following is Corey’s bio from the Maker Faire site:

“I play drums, compose, and improvise in many musical and performance art capacities. As a soloist, I create long, surreal narratives of unorthodox sounds and awkward, vaguely familiar motions.”

Check out this video by Craft Stylish to see Corey in action. He even breaks character to give them an interview at the end.

On the other end of this spectrum, we had the ladies from Your Psycho Girlfriend turning heads with their fashionable technology demo. One member, Kasey McMahon, is the brains behind Compubeaver, a CPU assembled within a taxidermied woodland creature. Inevitably, some veggie-heads may find this disgusting and offensive. The Instructable tutorial she has created, as well as other taxidermy projects like it, are lightning rods for heated debate. However, she did find the beaver at garage sale, and my opinion is that it would have suffered a worse fate in a landfill. Her intentions are to inspire awareness of our detachment from nature:

“I am interested in the way we interact with nature. As we become increasingly reliant on technology, we become disconnected from our natural environment. Nature then is a spectacle (ie holy crap, that’s a beaver!), an outing, a thing that is nonexistent in our daily lives.

There is also something intrinsically funny about putting a computer in a beaver. In fact, I find it difficult to think of a more ridiculous case housing for an office machine. All innuendos aside, what better creature to house the busiest of machines - the machine that has sped up our lives and made us captive to a constant flow of information.”

Stepping out of our predefined roles and comfort zones creates innovative thought. So, these aren’t merely a display of the pretty or functional things we make. They are abstract forms of creative expression that aim to speak on many levels in both obvious and absurd ways. When I ponder the kinds of art that hipsters will be remembered for, I think we’ll call it something like “Smart Ass Surrealism”.

What’s so amazing about Maker Faire and other indie events, websites, publications, and boutiques is how they celebrate our diverse cleverness. It’s a democracy of aesthetics and purpose, driven by the internet. In my next post for this series, I will discuss a related philosophy widely known as “open-source”.

Meet your MAKER FAIRE: Lo-Fi Solutions for a Planetary Crisis

Autumn Wiggins — Mon, 12 May 2008 05:00:26 +0000

Nearly two weeks ago I hopped on a plane to San Francisco(again) and translated a presentation based on my “Make Like a Tree” articles into binary code, so the computer programmers would understand it.

Maker Faire is much more than your average craft show. Around every corner, you’ll find a a pointless yet poignant doodad, a jaw-dropping technology demonstration, or the tools and materials that invite you to imagine the possibilities…because we hope to inspire others to make stuff too.

Why is this reconnection to our creativity so important? It was one purpose-driven thought from ordinary individuals that invented the wheel, set out to cross the Atlantic, and revealed the fabric of space-time. Making things, both literal and existential, pulls us through history, and simultaneously brings humanity to the verge of a collapsing eco-system. Most of us had no hand in executing modern manufacturing techniques, but we must use both hands to fix them.

Eco-consciousness was a dominant theme throughout this event. The concerns are now common knowledge, and solutions are surprisingly revealed through grass root efforts.

Upcycling and dumpster diving for parts was common practice in many exhibits, such as the intimidating interactive Skull by James Burget, a 30ft tall flaming scrap metal sculpture, and many beautiful handmade goods at Bazaar Bizarre (Cathy of California
is pictured here with her reclaimed raffia flower accessories and kits). We also saw widespread use of alternative energy from a school bus RV that aims to run on cooking oil to a rock concert powered by fans riding stationary bicycles. There was a parking lot’s worth of plug-in cars, an algae powered whatchamacallit, and DIY greywater installation.

Though not always practical, these combinations of art, technology, and activism are powerful food for thought. Take, for instance, The Buscycle. It has hit the streets across the country, inviting 14 peddlers at a time to harness their physical energy together in an effort to create mass transit.

Diverse as they are accessible, these projects were largely the work of your average-citizen enthusiast. They are putting in more effort than many big businesses to stop wasteful consumption and keep carbon emissions under control. Dedicated indie crafters are a driving aesthetic force in the equation of eco-consciousness. Seeing them brought together fills me with hope.

This is the first post in a series about my experiences at Maker Faire, as it demands an unprecedented amount of run-on sentences. In my next installment, I’ll explore obvious gender majorities in the categories of crafting and technology. You can see my entire collection of Maker Faire photos on Flickr.