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Bibbon, lace and flowers can all be mixed together in gay enough confusion, bnt the tumult resulting from any such addition to embroideries -or fabrics that have an interesting eastern flavour would be decidedly disconcerting. The art of "applique" is well worth consider ing as a charming method of embellishing a plain shade, and here again is a limitless field for the craftsman.

Silhouettes as previously described can be used and any kind of motif can be cut from brocade, figured silk or cotton and applied with some fancy embroidery stitch, or can be held in place by a narrow braid or ribbon, sewn flat. Wool can be used for a quick excellent effect and gold thread can be employed to double the parts of use and looks. One very good looking "modern art" shade had fruit shapes and leaves cut out of vividly coloured taffeta and appliqued to the flat side of a pongee shade. Hand-dyeing Is an unlimited field of resource for the most individual shades. Of the many forms of dyeing, batik, which is the art of using a wax resist to produce a pattern on fabric, is undoubtedly the most interesting.

Pieter Mijer's book, " Batiks and how to make them," will be found very helpful to craftsmen wishing to take up this beautiful art, and most libraries have Prof. Pellew's book, "Dyes and Dyeing, " which includes a chapter on tie-dyeing. By shaded silk is meant a deep tone of a colour grading to a pale hue. Briefly, this is accomplished in the following manner. Have a large vessel filled with hot dye of the colour that the deepest part of the silk is to be. Wet the fabric in clear water and gather the top of it into one hand.

Now dip the other end into the dye to the depth of about three inches. Now slowly lower about three more inches and so on, until all the fabric is gradually immersed. The last part to go in will be dyed by a considerably weaker solution as the colour will have been partly absorbed and also it will be in the dye less time and there fore will not have an opportunity to take up so much colour. With practise, this regulation of colour can be so gradual that it is impossible to see where the tones merge. For more elab orate results, different colours can be used on the same piece of silt, such as rose at one end and yellow at the other.

The rose is dyed as previously described to within a few inches of the end and the material is then turned the other way up and the process repeated in a yellow dye, with a resultant orange in the middle where the two colours meet. This dyeing naturally takes quite a bit of care and patience to get really good results, but the effort is worth it in view of the charming effects attained. Before immersing the wet silt in the dye bath, a series of knots are tied tightly in the fabric, through which the water is not able to penetrate and when dried and untied, attractive, if somewhat haphazard, shapes and patterns are found like in the original colour of the material.

If a definite design is desired and still more time and skill are available, the silk can be tied with tape or cotton tightly, in an arranged series of "ties" and these will act as a dye resist and make a light pattern in the silk. A clever worker can. The antique velours mentioned before, are obtained by this hand-dyeing method. A piece, originally old-rose colour is dipped locally in purple dye and splashed with blue in a few spots, so that the colours will merge, the whole giving a tone that will be in key with the finest old furniture. The skill part is quite as necessary as the good design.

The oil paint used should be thinned with turpentine or gaso line and the fabric to be decorated placed over a pad of blotting paper to absorb the surplus paint, and the stencil attached very securely so that there is no chance of a slip or an unsightly blotch. At best it is rather risky and the stencil is more satisfactory when confined to paper and parchment paper shades. A risk is a good thing to take sometimes though and a few failures may be the fore-runners of a wonderful success.

Free-hand painting can be done on fabrics, but care must be taken to use the paint dry enough to prevent discolouration of the surrounding silk, and it must be remembered that heavy paint renders the fabric opaque.

Shades of Empire

Flowers of every sort and made of every kind of material may be arranged in clusters or festoons ; they belong of course to the " dressed np" type of shade, but such shades have their place, and floral decorations are as charming as any. Fruit shapes in all sizes and colours, stuffed with cotton are exceedingly smart on tailored looking shades.

The conven tionalized apple is perhaps the easiest just made from a round of silk, filled and partially flattened, and held in shape by a cross of stitches in black to simulate the flower end of a natural apple. A leaning toward naturalistic reproduc tion can be satisfied with tinting the cheeks of the manufactured apples. Beads of every sort can be sewn on? The charcoal will easily rub off when the sewing is done.

Sandal wood fans and those made of palm- leaf can be manipulated to form most original shades; they can either be painted or left in their natural state, allowing the lining to give the colour note. These Mnd of shades are as a rule, more novel than beautiful and scarcely worth the effort of obtaining the materials.

Shields can "be made for these in all sizes and shapes. Very few department stores carry these shields, but the local tin-smith will be able to make the frame-work, if he is furnished with a design or working drawing. The method used for attach ing the shield to the lighting fixture, is similar to the clip used on candle shade holders, or the frame can be made with a fitting that will rest on the top of the bulb.

The wire used should be quite heavy, in order that the shade may be able to keep its shape throughout its career. Shields can be made in a great variety of shapes and can be designed to screen a single light or can be made to shade a group of lights. This oval can be varied with peaks at the top and bot tom. Square or oblong shields, with side wings Figure 15 are very good; in fact, every shape that is sim ple in form, such as the hexagonal or octagonal, is satisfactory.

There is just one point in all of them that must be kept in mind, and that is what is technically known as the " return. In the same way, any kind of trimming suitable for a candle shade will be in place on a shield.

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Over-elaboration is, as ever, a pit-fall that must be avoided. It takes very little imagination to visualize the horrible effect of a super-gay shield, harmless enough in the hand, elevated to the wall, there to swear terribly at a picture nearby. In fact, parchment paper and fabric shields of the plainer sorts are much to be preferred. Decorated parch ment or heavy wall paper are admirable when covered with a plain pleated chiffon or other transparent fabric; this will result in a simple one-coloured effect by day, and at night when the light is lighted, the veiled design will be seen.

This subtle scheme is to be recommended for other types of shades. Practically all frame shapes that are good for table lamps may be used inverted, provided that they are bowl shaped enough to cover the fixture. This can be beaded or decorated in any one of the ways heretofore suggested. It is well to remember, however, that the inner side as well as the outer is visible to any one standing directly beneath, and a lining must be used if the stitches show that hold the trimming in place. The use of the lining can be obviated by cut ting the frill long enough to allow its lower edge to be shirred and gathered in so as ,to hide completely the globe.

This, of course, ab sorbs more light, but it is rather effective in most cases. A tassel hung from the centre looks well, provided the fixture is high enough to give head-room for such ornamentation. It is always an easy matter to arrange for the switch if it is not possible to arrange the wiring so that the light can be snapped on from the wall to come through some fold in the fabric and be attached to the tassel or other dependent decora tion in such a manner as to be hardly noticeable.

Overhead lights are sometimes concealed by the use of a Japanese or Chinese sunshade ; this is very effective, provided that the light is not obstructed too seriously. Unless there is a base plug or a handy kerosene lamp ready to help out when real illumination is needed, it is better to keep to the fore the fixture 's original purpose in life, that of supplying light.

Chinese lan terns of decorated varnished gauze are very good in this respect, in fact they are almost too transparent. This transparency can be made less obvious and the glare toned down, by the uss of a tinted bulb, such as was suggested previously. These sunshades and lanterns are out of place in most rooms unless the general scheme of dec oration leans toward the oriental. The pagoda shaped frames spoken of before, can also be adapted to overhead fixtures. Hanging lights give a wonderful opportunity to the designer of iron-work Fig. Take Mm a design founded on some quaint old lantern and let Mm do the iron work, and give the glazier a chance to select some interestingly tinted piece of glass with wMch to fit it and it is quite likely that a "beau tiful and unique piece of work will be the result, with "but little supervision from the designer.

Sometimes it almost seems as if the poets are right and that the clang of the anvil does some thing to the blacksmith's soul, for quite a num ber of them have proved themselves to be artists as well as craftsmen. It can be used both seriously and frivolously that is to say, it can be treated so as to have last ing quaEties, as when parchment paper or oiled paper is used, fitting in with the scheme of a most conventional room; or it can be used gaily as a transient unit of decoration for some fes tive occasion.

Or it may come half way between these extremes and not fall to the ground, as when a shade is wanted that will look well and cost little for a short season in a country place. Practically all the paper shades suggested for candles can be used for lamps, with the addi tion of a frame, and in particular is recom mended the shade of parchment paper. This is not an easy material to handle, but it is easier than parchment, which has the added difficulty 70 PAPEE SHADES 71 of being hard to obtain; it is well worth experi menting with, as a failure or so is a small price to pay when compared with the results that can be obtained when one becomes a skilled crafts man.

The treatment and decoration of parchment paper is similar to the treatment employed when handling mica, that has already been discussed, only in this case the colour may be used very mnch more freely. A word as to the means of affixing the parchment paper to the frame may be a help.


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A large needle shonld be used, in order to puncture sufficiently large holes through which to draw the linen thread or silk, and instead of the crossover stitch used on other shades, a stitch that goes through the parch ment and round the wire almost as if one were binding the wire is better. The stitches should be about one-eighth of an" inch apart. This stitching is hidden by the gimp or whatever trimming is chosen. For a library shade, a nar row strip of leather makes an effective binding and a fringe of cut leather can be hung from the lower rim.

K" can be used as a substitute for sewing and are inconspicuous enough to need no concealing. Parchment paper shades should always be given a coat of shellac. The chief disadvantage is, that they have to be re newed frequently and the temptation to put off making a new one, after the old one has lost its freshness, is disastrous. That is, if one suc cumbs. Very much the same designs can be worked out in paper as can be made in silk, one merely uses the paper in the same manner as one would handle fabric, only perhaps a little more tenderly.

It is best to avoid the very fluffy ruffles type of shade as, in paper, they are apt to get untidy-looking quickly, and are dif ficult to keep free from dust The paper shade should be lined in the same way as was described for the panelled shade, with crepe paper that has PAPER SHADES 73 been first stretched smooth, and then pasted In place; this takes the place of the sift: lining. Figure 17 Crepe paper can then be arranged as the outer covering and the seams hidden by twists or plaits of the paper.

Particularly good for parties are the shades made of gay colours, with various jolly cut-outs pasted on Fig. As a trial, the shade maker should attempt the boudoir lamp Fig. The description of the base for this and for the large lamp shade Fig. They can be lined with, either crepe paper or silk, and fringes and tassels can be added. The supplies necessary for the bondoir lamp are : 2 dozen No.

Take 7 of these wires, and lay them alternately long and short, so that the distance between the ex treme ends is 25 inches Fig. Arrange the remaining seven wires in the same way, and lay one group across the other, crossing them in the centre. Place the lamp fixture on the woven base, bend up the wires, shaping them around the lamp base.

Continue weaving to within a half inch of the upright part of the standard. Cut off all the short wires and leave an uneven num ber of wires standing. If necessary to make the uneven number, cut out one long wire, wher ever the wires appear close. Insert two more ropes, and make about one and one-half inches of triple weave. To do the triple weave, place the three ropes in three consecutive spaces. Cut out two of the weavers and glue the ends. Finish with the regu lar four strand weave. This is made in the fol lowing manner and is in general use as a finish to many paper rope designs.

EDGE Measure the rope strand round the standard once, then one-third of the way round in addi tion and cut off. Measure off three more strands of the same length. Glue one of them in the space with the weaver already in use and two more in the next space to the right, making four weavers in all. Clip the wire at the left of the rear weavers, leaving about half an inch standing above the weaving line. Bend this wire over the rear weavers, tight and flat and in the direction of the weaving. Clip the next wire the same length and bend down over forward weavers. Pass the two rear weavers over the second bent wire, covering it completely, and then pass them back of the next standing wire.

All bent wires will then be covered with the rope except the last one and the one which was first cut and bent. Now lift up the first wire which was cut, pass the weavers over the last bent wire, and behind this lifted one, and rebend. Cut off these weavers close. Cover the rebent wires with the two weavers which are left, then cut them off and glue neatly into the inside edge, concealing the ends in the weaving.

Now for the shade: Cover the wire frame with a strip of paper about one-half inch wide, keeping one edge of the paper turned in. With a strip of paper the same width, cover 65 wires, 9 inches long. There should be six sections in the wire frame. In five of these sections, put eight wires evenly spaced.

In the last section put nine wires. Begin between any two wires and make seven rows of plain weaving, over one, and under one.

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Count three wires on each side of one of the wire ribs of the frame itself. This makes seven wires including the rib of the frame. Weave three more rows on five wires, taking in one less wire on each side. Weave the nest three rows on three wires and then twist the rope three times round the heavy rib of the frame. Weave three rows on three wires, three rows on five wires, and three rows on seven wires. Eepeat this design six times, always using the wire rib of the frame as the centre spoke of the design. When the designs are fin ished, weave seven rows of plain weaving around the bottom of the shade.

Finish the top and lower rim of the shade with the four strand edge described in the previous paragraph. Arrange the re maining fifteen wires in the same way and lay one group across the other, crossing them in the centre. Fasten the two groups together with the spool wire. Separate the wires into groups of two, each group consisting of a long wire and a short wire. Begin weaving with the Me inch paper rope. Weave thirty rows, over two and under two.

Continue weaving over one and un der one until the circle is the desired size.

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Place the lamp fixture on the woven base. Bend up the wires, shaping them around the lamp base. Continue weaving to within one and one-half inches of the upright part of the standard. Cut off all the short wires and leave nineteen wires standing. To make this number it will be nec essary to cut out some of the long wires wher ever the wires appear close.

Then make one row of triple weave, using six strands of rope. To do this, place two ropes in each of three con secutive spaces. Take the weavers, two at a time, beginning with the pair farthest to the left. When the one row is finished, cut out five of the ropes, glueing the ends. Add the five ropes again and make another row of the triple weave, using six strands of rope. Insert five ropes and make another row of triple weave.

New wires will have to be added. To do this, insert one new wire between each of the old ones. Push the new wires down into the weaving, so that the old and new wires overlap each other about three inches. Cut out only two of the six ropes, and weave with four ropes taken together, over one wire and under one. Continue this weave for eleven inches, then make another row of triple weave.

Continue with the following weaves: Ten inches of spiral weave, three rows of triple weave, ten inches of spiral weave, one row of triple weave. Insert new wires again and then weave eleven inches, with four ropes, over one and under one. Make one row of triple weave. Make these last two inches of plain weaving, one rope over one and under one.

Finish with the four strand edge pre viously described. The large lampshade is also made on a six panelled frame. With a strip of paper the same width, cover wires, sis inches long and wires eighteen inches long.

The six inch wires are used on the band at the lower part of the shade, which must be finished completely before the top part is begun. With the covered spool wire, fasten the six inch wires firmly at the top of the band. In five of the six sections of the frame, put seven teen wires evenly spaced. In the last section put eighteen wires. Begin between any two wires and weave six rows of plain weaving, over one and under one.

Then cut the rope and glue the end in. Finish the upper and lower edge of the band with the regular four strand edge. Use the eighteen inch wires for the upper part of the frame. All the ThreeCon books assume a universe with the same history and level of technology, and there are some shared events but no shared characters. It doesn't matter what order you read them in. The thing is, with a standalone story, clearly every reader is a new reader, With a true series where the same characters age throughout the books, you have to allow, at least to some extent, for three categories of readers: Those who recently read the previous book Those who never read the previous book Those who read the previous book, but it has been a good while My two Haven books, The Sixth Discipline and No Safe Haven , are a true series with the same characters, and one is a sequel to the other.

But with those books, trying to accommodate the second category of readers was less of an issue because there were no aliens with different biology. There was nothing about the cultures on Haven that needed elaborate description to make things clear to the reader. She keeps their friendship casual, but when his high school sweetheart transfers into their division, Jolie finds herself grappling with jealousy. The Underlight gave Hauk a purpose, but he can't escape his past completely. The physical and emotional scars from the fire that killed seven fellow Army Rangers will mark him forever.

Jolie sends his protective instincts into overdrive, but he's convinced he'll never be worthy of her love. Hauk is determined to keep Jolie from harm. But when the Order of Ananke ambushes them with a new weapon that neutralizes Hauk, making him vulnerable, it's Jolie who must tap into her hidden strengths to rescue him—or risk losing him forever… Sequel to How Beauty Met the Beast. Echo in Time. Book Alara has spent her life under the radar, hiding her nature from the government and those around her.

When it came to a choice of letting her cousin fall into servitude to their own government or live a life free in the stars, Alara stepped into the path of disaster and made sure that Tosha went free. Trapped and locked in a lab where other talents were incarcerated she meets a new friend and the man who has haunted her dreams for the last six months. General Brodin has fought wars and when his talent surged forward, the government of Dhema sent him to the Sector Guard.

He has waited patiently to find his true mate, and when he was told to get himself captured on Dalpha he did it without question. Seeing Alara for the first time, he knows why. Similar ebooks. No Safe Haven. Book 2. Whatever the old man saw made him force Ran-Del to leave the forest and marry Baron Hayden's daughter.

In spite of minor jealousies, Ran-Del and Francesca have forged a strong marriage. Ran-Del is still a warrior, but he's comfortable in the city partly because few people know of the psy abilities that make him so useful to the House of Hayden. Francesca is happy Ran-Del can see her thoughts well enough to know her feelings for her old flame Freddie Leong have cooled. Fortunately, psy talents are rare in the city, and no one knows the true circumstances of her marriage, not even Freddie. As heir to House Leong, Freddie has his own problems; he spends his days trying to escape his mother's iron control and ensure she never kills his father.

But not all the dangers of Haven lie in the cities. In the mountains to the north, the fiercely independent people known as the Horde have changed their ways. Instead of fighting among themselves and raiding in force, they now use cunning to get what they need. When the Horde strikes, Ran-Del and Francesca face a threat far worse than either of them ever imagined.

And then finally, Ran-Del confronts his destiny. Wolf Rain. Book 3. The end of Silence was supposed to create a better world for future generations. But trust is broken, and the alliance between Psy, Changeling, and human is thin. The problems that led to Silence are back in full force. Because Silence fixed nothing, just hid the problems.

This time, the Psy have to find a real answer to their problems--if one exists. Or their race will soon go extinct in a cascade of violence.

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The answer begins with an empath who is attuned to monsters--and who is going to charm a wolf into loving her despite his own demons.