How to calculate the shadow direction, size, and transparency?

This can be a somewhat complicated process, to draw shadows in perspective. There are many great resources, but I'll show a simple demo here.

This is using a single light source and a simple box form.

Here are the construction steps I used to create that final image:

Lay down your horizon line and choose your vanishing points (VP).
Draw your shape (here the blue box) in perspective. Use standard perspective technique, connecting points on your shape to the relevant VP. Make sure you draw the hidden part of the object (the back), because that can affect the shadow shape.
Assign a place for your Light Source. This is up to up. The horizontal distance from your object will determine the rotation of the shadow. The vertical distance from the horizon will affect the length of the shadow, with greater distance shortening shadows (just like at high noon).
From your light source, draw Shadow Perspective Lines to the top vertex points of your shape.
From your Horizon Light Point (AKA light vanishing point) draw the Shadow Perspective Lines connecting to the bottom points corresponding to the points from step 4.
Find the intersection of the SPLs from vertexes connected by common edges.
Connect these SPL intersections. They are the boundaries of your shadow.
Connect the remaning SPL intersections to the ground-level vertex of the object by following your SPL to the horizon light vanishing point. (Usually, you don't have to think about it and just connected it to the logical corner.)
Shade in between those boundaries you just made.

Things get more complicated as your shape gets more complicated, is not resting on the ground, or has curves. The guide I linked to earlier has information on casting shadows from the air, and onto other objects instead of the ground.

You can cast shadows of curved objects by creating a shadow map of the box you could draw around your perspective object. The Virtual Instructor has some examples of shadows of circular and spherical objects.

For more information, you'll want to find resources regarding drawing in perspective, and especially shadows in perspective.

Multiple light sources and ambient light will further complicate your drawing. Getting this done correctly may be less a matter of calculation and more a case for studying how shadows work in the real world. Observation and reference will be your best friend there, especially as you learn about how light and shade works.


Can I use wood glue to fixate poster paint?

For a quick fix use acrylic medium which is simply clear acrylic binder; acrylic paint without the pigment. It is soluble in water, easy to thin and work with and clean up after, and it dries waterproof. Available in any art store or online. You can get it in matte or glossy or in between. That should bind the poster paint no problem.

And for the next shield you paint, start with acrylic paints. There are affordable grades equivalent to poster or tempra paint, but they start off waterproof (when dry). And you can get higher quality colors, different thickness mediums to add texture, better range of colors, etc.

Just remember to rinse out your brushes as you use them, the acrylic will dry to waterproof in the bristles too and destroy them.

Oh... and you could use wood glue maybe thinned a bit, but it would be a poor solution. Likely to dry too slowly and the colors will bleed. Also may not have as nice of a finish, may remain sticky. Finally it will likely lead to discoloration over time. Its possible it would still be water soluble too so don't use wood glue unless there is absolutely no alternative.


How can I remove glue from leather without ruining the leather?

Take a scrap piece of leather and apply several dots of glue to it, then let them dry.  Once they are dry, try each of the following solvents to see which ones remove the glue with a minimum of discoloration to the leather.  Then stain the leather to see how the solvent treated leather accepts color.

clean water,
water with dish-soap,
rubbing alcohol,
acetone (nail polish remover)
dilute ammonia
dilute bleach

Never mix the solvents with each other.  Apply each solvent to a separate dot of dried glue using a q-tip or folded paper towel.


Sequins are wonderful and magical, but do take a lot of time to attach by hand one-by-one.

Gluing is not a great option, but can be a good quick fix.  One problem with glue is unless you are surgical in your technique, the glue can get on the front of the sequin and make it cloudy.

Another watch-out with glue is that the glue tends to be stronger than the sequin, and unlike using thread where the sequin can adjust to pressure, the glue holds the sequin firmly in place which means it can be easily crushed or broken.

It is possible to attach sequins with a sewing machine (see No. 10 method of attaching sequins in the link below), but that method also requires some precision and attention to detail, and it's debatable whether it is really faster than sewing by hand.

It is also possible to attach sequins with a very small crochet hook (Method 7).  Once you get the hang of this method it might be pretty fast, but I have never tried it.

The answer to your question about rivets is, "probably no."  Rivets would have one of the same problems as glue - a rivet will be stronger than the sequin, the rivet will hold, but the sequin will break.  The hand-sewing equivalent to a rivet is the bead.  Instead of bringing your needle up through the center of the sequin and down over the edge of the sequin, you wrap the thread over the edge of the bead and back down through the hole in the sequin.

The bead technique (Method 5) has the benefits of not having the thread showing on the sequin, not holding the sequin so tight that it breaks, and a clear bead can add even more shine while a colored bead can add interesting color effects.

You don't say what you are attaching the sequins to.  If it's decorative art that will be looked at or displayed but not worn or handled too much, the glue might work as long as you apply the tiniest amount it takes to attach the sequin, and being sure not to get any glue on the front of the sequin. But even in this case, the glue will hold the sequin in place and can reduce some of the shimmer that comes from the sequin moving and sifting.

For decorative art, a rivet might work, you might come up with some cool "rivet" ideas, e.g., maybe modifying a clear plastic "bead and string" gun like those used to attach price tags to clothing.

It is possible to buy "strings" of sequins (Method 9 in the link), but they don't look as nice as the individually-applied sequins do.  That might be an option though if time is your biggest concern.

https://sewguide.com/how-to-sew-sequins/
•   Which Needle to use with sequins?
•   Which Thread to use with sequins?
•   Method 1.Attaching individual sequins
•   Method 2 Attaching sequins in a row with back stitches
•   Method 3 Attaching sequins in a row – with two straight stitches
•   Method 4 Attaching sequins  – with straight stitches
•   Method 5 Attaching sequins with a bead
•   Method 6 Attaching large sequins at the edge
•   Method 7 Attaching sequins  with a special needle
•   Method 8 Attach sequins with fabric glue
•   Method 9 Attaching sequin trim
•   Method 10 Attaching sequins with a sewing machine


What name best describes this style of pen-and-ink art?

So, when I first looked at it my reaction was "mosaic" was the root of the style and so I did a little digging and came across the concept of "doodle mosaic" that really seems to fit. The other reason that worked for me its the there is a Zen Doodle feel as well, the sense that the sum of the parts are creating a bigger result.


What should I consider when making homemade steam distillation equipment?

Steam distillation is used to convert catnip leaves to concentrated catnip oil. There is an Instructable that I've followed in the past to make what they call kitty crack.

It's relatively simple, at least the distillation portion. The leaves are placed in a container on a heat source and water is added. The collection is boiled and the vapor containing water and oil condenses on an inverted lid over the container. Gravity pulls the condensate to the center where it drips into a smaller container on a stand in the middle of the concoction.

It's using ordinary household materials, including loads of ice! I've forgotten how many times I had to refill the inverted lid due to the heat transfer.

The chemical aspects of the catnip process will be different from your selected herbs, I'm sure and I can't advise that portion, but I suspect you have a few leads for processing the condensate.

I processed about a pound of catnip leaves and recovered a couple grams of concentrated kitty crack, which seems tiny, but they were dry leaves. Your herbs will probably have more oil than dry catnip. Running the same batch of leaves about five times means each sequence will be more water, less oil, but ensures maximum recovery.

I dumped the leaf mush in the yard in view of the security cameras. There was enough catnip remaining in the mush to attract more than a few local felines for a stoner session.


Can I use nylon-made paint tray to contain paints?

Nylon is a type of plastic.
Most cheap painting brushes are made of nylon. They can withstand the solvents used in the oil painting process.
Since nylon is a family of compounds with different properties, and the paint tray you mention is marketed as such, you can be sure its resistance, durability, and breathability are all within the characteristics of what one can expect from it. It should be as easy to clean as any other plastic tray.


My experience so far is that cheaper air-drying clays tend to shrink more than quality clays while drying. Many types of clay list the expected shrinkage on the package. If there is no information about shrinkage, you should expect it to be non-negligible (sometimes as much as 10%). As far as I understand it, different fibres added to the clay are to blame. Cheap clays use fibres that soak up more water because you pay by weight. More water in the clay means less expensive ingredients by weight.

"Super soft" and "super light" clays are also full of fibres. I would always prefer a clay with the texture and consistency of natural clay.

Slowing the drying process down is a very good idea. If the outer layer of clay dries and shrinks faster than the inner layer, it cannot shrink uniformly and has to crack. If there are badly mended cracks in the soft clay, they tend to reopen while drying.

The thickness of the clay may have an effect as well. When you form very thick structures like a fist-sized ball, you should substitute part of the clay with another material like a ball of aluminium foil.

When your sculpture cracks, you should moisten the cracked area, fill it in with fresh clay and really rub it into the crack to attach it to the dried clay. If the fresh clay won't stick at all, it's a sign of bad quality clay.


I've glued strong magnets to various other things in an industrial context, and even fairly rigid substrates have a tendency to peal off the magnets.

Hot glue is good if it sticks well to both surfaces, and it often doesn't stick very well to things like metal.  It's easy to use too -- try it out on scrap materials and you'll be fine.

A much better option is to use a magnet with a hole in (searching on "magnet with hole" will find you many sizes), and fasten through the hole, whether by sewing or some other kind of fastener.  Alternatively sewing the magnet into a pocket can work well, but it doesn't sound like you've got much chance to modify the design.  This option does require strong magnets as you're putting material in between them.


The front looks like standard knitting (stockinette stitch).The picture quality of the back is too low to say for sure, but it looks similar to how the backside a stockinette stitch should look.

The stockinette stitch is the most basic stitch and used for most machine-knitted fabrics. You find it in almost all t-shirts, sweaters, socks and other knitwear.

The notable difference of your picture to that of most knitwear is that the right side of every stitch is twined so much that it appears to be one continuous line. This is a sign of quality because the single fibers of a yarn cannot be pulled from it easily if it's twined.

So my guess is this:
The fabric is knit by machines in the stockinette stitch like almost all knitted fabrics, but the manufacturer used high-quality twine instead of cheap thread.

For comparison: This is how a stockinette stitch looks like with yarn that was not twined. The regular V-shapes of the individual stitches are clearly visible.

Image source

And this yarn was slightly twined. It's the same pattern, but the stitches seem to blend together into rows of vertical and diagonal lines.

Image source


How to cut a hole in a globe without breaking it?

I think you might be close to a solution by using heat, but consider to combine a source of heat with a cutter blade. This will allow you to use the tip of the blade to have a minimal impact on the surface, while providing the means to puncture the surface. You may find that you can re-heat the blade for each cut and use this method for the entire opening.

Your idea of repeat cuts is also good if you combine it with heat. This will minimize the damage to the surrounding area, while "gently" imposing the blade into the plastic surface.

The size you reference should be small enough to allow the rest of the sphere to maintain its shape. If an edge of the cut is snagged by an envelope, it may buckle inside, but the overall small size should allow it to pop back out.

With Henry Taylor's implied permission and recommendation, I am incorporating some of his support material below:

  Manually heating the blade is absolutely an option, but there is also
  a specialty tool called a "hot knife" which is just a soldering-iron
  with an xacto-blade as the tip. I find that using a hot knife to
  "scratch" at sheet plastic slowly with very low pressure and going
  over the line a dozen or more times usually provides the best results.
  Practice on less precious objects of similar material before hand.

  As for cutting the straight lines of a rectangular opening, set up a
  guide for your blade using layers of blue painters tape carefully
  applied around the outer edge of your cutting lines. Slide the blade
  along the tape wall with the tip resting against plastic at the cut
  point. Then once your hole is done, wet the tape to loosen its glue
  and peal off VERY CAREFULLY starting at the edge of the tape furthest
  from the hole with force perpendicular to the cut. Remember that you
  have seriously compromised the plastic's integrity by cutting it, so
  treat it like an empty egg shell... delicately.


My daughter has Cerebral Palsy and writes quite well thanks to a few tricks she learned from an Occupational Therapist.

Get a fat pencil or you can get a plastic sleeve that goes over a pencil.
Use a soft pencil lead available in many stores, especially art stores.  I recommend HB, or 2B.  It is easier to control a soft pencil.
Rest your forearm on a table when writing, not just the palm of your hand for better control.

This works for anyone, not just folks with physical issues.  Now that I am getting older, this works for me, too. Once your brain gets the message, these tricks become less important.


How do I prepare a plastic mold to easily release beeswax?

Sounds like you're looking for a mold release agent.
Some examples of release agents are:

Pam Cooking Spray
Olive Oil applied with a spray pump
Industrial Mold Release Agents such as McLube

All of the above mold release agents are applied in the same manner. Starting with a clean mold, spray on a thin layer of the mold release agent into the mold, covering all the surfaces of the mold. Let it sit for a few minutes before adding your compound to the mold.
Careful not to spray too much mold release as the excess can mix with your casting compound and affect the surface finish of the cast part. A light application is all that is needed.


Can Dollar Store Tool Bench Hardware Wire be baked in oven?

According to this post, the black and red coloured wires are insulated with plastic:

2 coils at 33 feet wire red plastic insulation
2 coils at 33 feet wire black plastic insulation

Unless you find packages with the regular 'silver' coloured wire - which according to a review here might actually be hard - I suggest using different wires.


Green dop wax is best. Don't use glue. I read something about colour loss up there, god knows what they are on about this is untrue. Opal is relatively soft, treat it with care.

To get the stone off again, leave it in the freezer for half an hour to harden the wax, it will pop off.

I grew up on the field in Lightning Ridge and found, cut and sold my first opal when I was seven years old. I have 35 years industry experience. I say this to give you a base line to judge the value of my advice against others who might say otherwise.


Exhibition preparation - What is an artist biography for someone in the early stage?

It's difficult to answer this without knowing the specifics. But what I can say is that a gallery will look for some kind of narrative that ties your experience as an artist together. Generally you should include your most recent/most prestigious shows from the past, and then draw a connection between your former work and your current work using the time you spent not exhibiting.

Is there something you studied during the time you weren't showing work that has influenced your current work? Don't dwell on it, but do mention it. I find that art lovers have a positive view of artists with interests outside of the arts, so I'm sure you'll be able to massage some nice sounding narrative out of whatever you were doing.


What tool or technique is best for cutting circles in matte board?

A hole saw should work fine if you can find a fine tooth model. They are not as easy to find as the common coarse teeth models meant for wood. One with a thin kerf would be best.
I have also used the sharpened steel tubing trick mentioned by @fred_dot_u. An alternative to punching is pressing the sharpened tube against the board and spinning it. The spinning action makes it work like a circular knife, cutting the fibers cleanly. If you can't find a 35 mm steel tube, you can get almost as good a result by wrapping thin aluminum from a soda can around a 35 mm thick piece of plastic or wood.
To align the holes perfectly, it will help to make a template. Cut three holes in a smaller piece of board, align two of them to existing holes on your workpiece and then put your cutting / drilling tool in the third hole to keep it in correct position.


Do I have to know about muscles and their placements while learning to draw realistic birds?

Knowing the anatomy of your subject will make you a better artist. Here's why...

I can think of four reasons why an artist studies the anatomy of what they intend render into a work of art:

1) Structure
The human eye is very sensitive at identifying shapes and proportions. Get the structure wrong and the eye "will" see it. Knowing how something is put together will make it easier for you to reproduce it during the drawing process. You will also be able to critique your own work and know if the image is working or not.

2) Invention
The artist may not have access to a reference photo of the exact pose they are looking to draw. In this case the artist will need to invent the pose by some means. Look up the stick figures of Terryl Whitlatch, or the maquettes of James Gurney. The stick figure and maquette are both tools available to the artist to help them draw better and be more inventive with the pose of their subject. It takes a solid understanding of anatomy to create a useable tools such as these artists use.

3)Further Learning
When you know the anatomy of the subject it will be easier for you to communicate with others when discussing the subject. Being able to discuss the subject with others will make things clearer in your own mind. As new information comes up you will be better able to catalogue and integrate it with what you already know. Look up Richard Feynman's technique of how to learn anything. Feynman's approach to learning technique works for all subjects, even those subjects important to the artist.

4) Spiritual Empathy
... this gets into some artsy spiritual stuff ...
Learning the anatomy of your subject brings you one step closer in developing your connection to what it is you want to draw. Artists look to put their energy into their works and combine it with the energy of their subject. To be able to detect that energy you need to develop a close relationship with your subject. It through this empathetic connection of understanding that you will be able to connect on a soulful level with the energy and spirit of your subject. Better understanding of your subject (anatomy, physiology, philosophy, behaviour, spirit) will make you a better artist of the subject.


How can I cleanly finish and starts rows, using single crochet, in my pokeballs?

Genrally in amigurumi you don't crochet in rows, but in spiral. This way there is no visible seam at all, but you usually need a stitch marker to keep track of where rows begin and end.

Here is a photo of a bottom of a bunny I made, to illustrate how it's done and looks:


Reliably identify the local color of a subject in non-white light?

Unless I am misunderstanding your question, the answer is embedded in the question itself.

The purpose of a good gray-scale card is to give you a standardized point of reference for what is true black, true white, and the intermediate shades of gray in between. So if you hold that card up to your subject, the card will be illuminated under the same lighting conditions as your subject… so it will experience the same color shifts that your local lighting conditions produce.

So, for example, if the white in your subject looks a bit yellow under incandescent lights, the true-white (value 10) on the card will look a bit yellow, too. But as long as your subject and the value on the card look the same, you know the color of the subject is truly "true white."

Make sense?


Human hair is primarily made of keratin and is usually somewhat oily (a result of the sebaceous glands lubrication to help the follicles grow out of their subepidermal sheathing). Although keratin also forms the basis of horn, claws and even fingernails, it is an organic protein that can serve as food for microorganisms. It has a long history in art, which is why I think it is a good idea to look at what professional art restorers have to say:

Human hair is a fragile organic material, which is sensitive to light, temperature and relative humidity.
... common degradations are: abrasion / breaking / undulation / infestation by lepidoptera and dermatophytes

So if you are going to use it as a material, I would recommend that you take a couple precautionary risk-minimization approaches to support its longevity by reducing its stress factors.
Dermatophytes are fungal colonies that on humans are pretty hard to treat, but you can take a trick from Ayurveda for treating water: get some uncoated and very thin copper wire from an electronics store (or harvest some from an old cable by defraying it and washing it in acetone). Copper ions are antifungal and antibacterial.
Next, I would recommend occasionally misting the object with a diluted (1:10) lavender essential oil to distilled water. This will not only impart a pleasant and sweet smelling note to the object, but it will also inhibit mite infestation.
Finally, you will want to consider adding a desiccant to remove ambient humidity inside the object (unless it will always stay in a dry, arid region). If you are not worried about the object being accidentally consumed by small children or pets, you might add a sachet of silica-gel inside (like the ones you can find in new shoeboxes or leather gloves).
Let us know how it goes!!!


How to hang a painting on plywood on the wall?

If you have some power tools, you can make a very thin French cleat.  The image below shows one designed to hold a heavy cabinet.  The two mating pieces are cut at an angle, typically 45°, and the piece on the wall captures the piece on the back of what's to be mounted.  The item just slides on top and is held by gravity (easy on and off; no tough aligning of anchors or capturing wire).

Image by Tenbergen, courtesy Wikipedia

Your painting isn't very heavy, and the cleat would be long (you can make it almost full length, so it looks like the painting is floating a tiny distance from the wall).  It would be attached to the wall at many spots, so the load will be very spread out.  The cleat attached to the painting can be held with glue; it's a large surface area and not much weight.

Even 1/4" material would work for your painting if you have the means to work with something that thin; 3/8" material might be easier to work with.

The cleat goes near the top of the painting.  Glue a narrow strip of the same material near the bottom of the painting, or a few scraps near the bottom corners, to act as a spacer so the painting hangs a uniform distance from the wall.


Seeking inspiration - are there professional watercolor pencil artists and if no - why not?

Look up Gary Greene. He has some beautiful work and also instructional materials available on Youtube, ArtistsNetwork, Amazon and probably elsewhere. He does both colored pencil and watercolor pencil work. Watercolor pencils are a natural extension of straight colored pencil work. CP artists will sometimes melt their cp pasages with various solvents. Watercolor pencil uses a similar technique, except that the solvent is water. As I'm sure you're aware, it's the beauty of watercolor pencil (and also the use of other solvents with straight cp) that some passages will be dissolved and others left untreated, according to the discretion of the artist.

You can use any medium in a professional art career. The key here is not the medium used but your own creativity, skill, salesmanship and most of all, hard and persistent work. If your favorite medium is wc pencils, then dig in. It's a great medium to use.


Does anyone know how to add color to a piece of art (paint, ink, art)

One option is to scan your line drawing into a image file for your computer, then use that to experiment with colors on your computer screen where mistakes and poor results can be undone with a mouse click.

Once you find a set of colors which work for your particular drawing, you can either print it out on a color printer, or if you are looking for more authentic, human results, you can brush in the chosen colors on the original canvas, turning your line drawing into a painting.

There are several computer programs out which allow you to mimic different brush and paint types on the screen.  I use the free software that came with a Wacom tablet which I bought a bunch of years ago, but I have seen videos for Photoshop and CorelDRAW brushes which look a lot more capable than what I use.


The short answer is the wood is shrinking as it loses moisture. Because you've used two fastening points across the width of a top board, one or more of those top boards may split as it continues to shrink.

Accommodating this sort of change in dimension (which continues to happen seasonally, even when the wood has fully "dried") is one of the classic challenges in constructing furniture from solid wood.

There is a lot of literature out there on this topic. Here's the first link returned from Google on "furniture accommodate wood shrinkage"
https://www.extension.purdue.edu/extmedia/fnr/fnr-163.pdf

Note that it's both shrinkage and expansion that cause problems.


Can you turn a normal mirror into a one way mirror?

You're likely going to run into some issues with the coatings that protect the metal layer. There are several types of glass mirrors:
https://en.wikipedia.org/wiki/Mirror#Types_of_glass_mirrors

Typically the layer that reflects the image is silver or aluminum. They are made by taking a sheet of glass, applying a layer of metal, then protecting that metal with additional layers of paint or protective materials. As such first the protective layer would need to be removed, it would depend on what the layer was made of to determine what would be used to remove it. After which some of the metal layer would need to be removed, probably by dissolving. What would dissolve it would depend on what it was made of. After this, a protective coating should be reapplied, or the lightest scratch will take off the mirror material.

It would be simpler to work with a fresh piece of glass and apply silver nitrate directly (as in photo making). Or even easier apply some two way film. Which is tint film that makes any glass a two way mirror.


Is it possible to recycle the glass bottles and jar in desired shape and size by melting?

Yes, The general term is 'bottle slumping'.  There are several images on pinterest.  The glass is heated to the point that it can be shaped.  Current trends are to use a Kiln, with temperatures between 500F and 1500F

I have memories from local carnivals in the 1960s and 1970 of the bottles being heated in a liquid, shaped and given as prizes or sold. I had a coke bottle for several years that was obtained from the carnival.


How can I get a wooden box to close straight down?

You don't need to use fancy hinges to fix the problem.  The admittedly crude diagram, below, is a cross section of the box and lid (the dot on the right is the hinge).  The arc is the path of the inside edge of the front of the lid.

The rectangular white space inside the lid is where contents can fit when the lid is closed.  But the arc when the lid opens and closes chops off the corner of the contents area, which is the problem.

You can fix it by removing a wedge of material from the inside edge of the lid.  Use a little geometry, or stick a block of something inside the box or tray that just fits in height when the lid is closed.  With the lid open, push the block against the front of the box and close the lid.  You can use a material like carbon paper so the inside edge of the lid marks the block where it hits.

Add a small margin for clearance and transfer that dimension to the front bottom edge of the lid, measuring from the inside edge.  The wedge to remove goes from there to the top inside corner.

The wedge can be removed with a Dremel tool, chisel, carving knife, or other suitable tool.  Not a lot of material will need to be removed.

This approximation should be close enough.  But if you really want it perfect, calculate a larger concentric arc that passes through the inside top corner of the lid.  It will intersect the bottom edge of the lid at the same place. As long as you remove the lid material on the inside face of that line (regardless of the actual shape you cut out), the lid will be guaranteed to clear.  You can start with a simple wedge, then shape it to the arc.  You can use the same test block to guide your cutting; gradually rough out the cutaway until nothing hits the block.

Note that the drawings aren't to scale, they're exaggerated to illustrate the concept.  The actual dimensions of the case would involve much less material removal than implied here.

Update:  As Matt's comment points out, the above approach would be difficult to make it look professional without the right tools and practice.  Here's a much simple approach.

Fasten the hinge with the pivot centered on the inside height of the lid.  The problematic bottom front inside edge of the lid will then be a distance from the hinge pivot that is a diagonal.  As you open the lid, that edge will swing out because the diagonal distance is longer than the horizontal distance.  By the time the edge is at the maximum possible height of the contents, it will be at the original position of the top inside corner.  So opening the lid clears anything that might be inside.

This solution does create a somewhat similar problem at the back of the lid, but it's much easier to solve there.  As the lid opens, the bottom back inside edge of the lid rotates into the content area.  The tiny arc shown on the diagram at the hinge illustrates the points that would be equidistant from the hinge.  What is farther from the hinge than that arc is what will rotate into the content area.

This is a much smaller amount of "problem" material to remove, and in this location, all it takes is some handheld sandpaper to round off the corner.

Keep in mind that the diagram isn't proportional to the actual lid dimensions or wood thickness, so it illustrates the concept but doesn't accurately represent the amount of material that would need to be removed.


What is the difference between poly poplin fabric and cotton poplin fabric?

The main difference is that one is made of 'poly' (likely polyester) and the other is made of cotton.
How notable the difference is depend on how the poplin is made and how they handled the threads from which they made the fabric and the fabric once made.
Mostly man made fibers are more smooth and shiny but it is not a given.
I own a bag made from recycled pet bottles and when you see it you would say it is rough cotton. I own fine cotton fabric which is shiny and smooth like polyester in the way it looks.
Cotton mostly feels better to the skin, not as likely to make you skin sweat.
So best go with the descriptions and pictures on the site.


Are you supposed to remove the sheets from oil painting pads?

You paint on only one sheet at a time, removing it and placing it on a table, easel, or other surface of your choice. You can use a hard or stiff backboard if needed. It does take a long time for oils to dry.


The weight is the weight of a ream (500 sheets) in the unit of uncut size, which varies with the stock type (see here, for example).
A more consistent measure of paper weight is the grams per sq metre value (gsm) which is what it says, the mass of 1 square metre of the paper, which is the area density of the paper.


How to support heavy weights when constructing chairs with cardboard?

You don't specify what kind of processing is permitted on the cardboard, if any, but if you have relatively free rein I'd recommend investigating papier mache - it has been used historically for furniture making so could represent a very viable option for making chairs out of cardboard.

Options range from a very basic and functional version made from essentially cardboard tubes glued together, to very ornate items such as seen here:

From papiermache.co.uk

At the most complex end of the scale, paper and cardboard can be glued in layers to make a material which is almost as strong as wood, and can be cut, carved and sanded in much the same way.  This is very time consuming and can require specialist equipment so it's not particularly practical for hobby applications, but it goes to show the kind of strength that can be obtained.


After much searching, reading and watching videos I figured it out. I took the machine apart to adjust the "needle timing" (key words to search for). Sadly there is no video or instructions for this model specifically, so I'll summarize here:

Remove the back cover
Remove the bobbin assembly, and the cover over the spinning hook mechanism
Note the gear on the bottom with 2 screws, loosen the screws just a little and the spinning hook will move freely.
Align the tip of the hook to start just above the hole of the needle.
Tighten screws and reassemble.

MAKE SURE your needle is on the upswing, not the down swing. Before reassembly, pull the wheel towards you to ensure it spins around freely. Also, if you adjust it to be left/center/right or zig zag, I recommend aligning the hook and the needle on the left.

Maybe i'll make a video....


How to knot an elastic cord into a circle?

Fisherman's knot

This is what I would use if you are looking for a pure knot solution. One of the easiest ones to use as well since it is just two overhands knots.

Image from Wikipedia

Basically lay the ends of the elastic along side each other. Then take one end and tie an overhand knot around the other end. Then do the same with the other loose end. (Describing how to tie knots is a hard venture). Once both knots are tied you can pull the elastic away from the knots and that will pull them tight.

Consider fusing

This really depends on the material the cord is made out of but this works for certain ropes. Use something simple like a lighter (some people use heat guns) to melt the elastic ends together. Assuming that material allows this, fusing after you put the cord in a knot will help create a stronger bond. you do have to be careful not to overheat the cord as that can damage it or if nothing else reduce its longevity. Might not be worth it for the project you describe.


Trying to find specific embossed grid paper

I haven't seen paper with such an embossed grid, but you can use regular paper over a plastic grid that does that.  They're typically called something like a "freehand drawing grid".  There are several brands, like "FreeHand Designer" and "Accu-Line Grid".  You put it under the paper.  The surface has tiny pyramid-shaped bumps that keep your pencil going in a straight line.  This is what the surface looks like magnified:

You can find them on Amazon, as well as other places.  Here are a couple of links to get you started: FreeHand Designer and AccuLine Grid.  They're available in various sizes.


Tracking down speckled/marbled upholstery fabric

There are some similar fabrics at lavivahome.com. They call it cotton stria and wool bouclè.


How can I secure stiff fabric to wood without risking ripping and without adhesives?

Instead of securing the fabric with the scews, I'd let the fabric secure itself on the outer edge of the wood. The less holes you poke into a fabric, the stronger it is to withstand tearing or wearing out.

Instead of a simple hem, you could roll and secure the fabric (light blue) around a cord or other thick material (dark blue) to create a bulge that is held by the wood (brown). If the material is somewhat thick and the wood closes well without big gaps, a "simple" hem might even be enough.

Advantages:

Preserves the fabric's strength by avoiding holes
If a weight pulls the fabric down, the force is distributed between all points on the edge instead of single holes.
You can easily replace one piece of fabric with another one.
No need to sew button holes or inser grommets into the new fabric

Disadvantages:

You need to sew a thick or corded hem on the fabric
The hem is always visible on the "outside" of the wood pieces


How to properly mark a linocut prints series

As far as I'm aware (I'm not a professional artist) the artist should strive to make each print of a series as equal to all other prints as possible. However, if the artist intentionally introduces non-reproduceable variations in how the paper is printed or alters the print by hand, it can be considered a "Varied Edition", "Variable Edition" or "Edition Variable".
You as the artist decide which prints meet your own quality standards. If you want to eliminate as much variation between prints as possible, destroy the prints with too much variation. If you apply several colors at the same time and random color variations (due to leftover color from the previous print) are part of your artwork and you like the way they came out, keep the print and sign it. You could also decide to print an entire series with a different paper or different colors for each print. It's your freedom as artist do decide how you define a series.
Artists who decide to categorize their series as a Variable Edition usually label prints with something like "VE 1/10" or "1/10 VE". That doesn't mean that prints without that addition cannot be varied, it just means that the artist consciously labeled the series as variable. As always, there are no hard rules.
Some short and informative sources are:

What is a Variable Edition Print?
Variable Editions


There are various waterproofing sprays and brush-on treatments sold for maps.  They shouldn't change the colour very much, (hopefully not at all for print) but may darken the base colour a little.  Here's one example, and here's another.
The key to using these is to ensure perfect coverage, and several thin, even, coats.  The same would be true for spray lacquer, which should also work though it's not necessarily designed to be flexible.  For origami I'd spray from a different direction for every coat, but even so getting it into the crevices will be tricky.
I've also seen a recommendation for polyurethane varnish, with the note that some change the colour but others don't.
A dip process would ensure good coverage but in an oil-based varnish is very likely to change the colour (as you found with epoxy), maybe adding translucency.
A range of options is presented here including some I've mentioned above.  One that looks particularly interesting is shellac.  It dissolves in alcohol but not water, and hardens when the alcohol evaporates, so unless you have alcohol-soluble colours on your paper, it shouldn't have much if any effect on the colour, and is described as being suitable for a bath process.


Will a children's pullover rescale for an adult?

No, it almost certainly will not scale to fit you appropriately. But it could work with some reasonably simple adjustments.

Explanation

In general, garments for babies and toddlers have shorter arms and shorter torso-length compared to the chest circumference than garments for adults. They sometimes also have a wider neck opening, and the size of the arm holes may be larger for ease of dressing and movement.

If you scale a small child's pullover up to adult size based on the chest circumference, the arms and torso will be too short. But, if you can find out from the pattern the relevant dimensions of the finished garment, you can scale it all up, then work out how much extra length is needed.

It would also be worth checking that the neck and arm hole sizes are appropriate, although if you are making a loose-fitting pullover, then these won't be as much of an issue. But different constructions will behave differently around the shoulders, as you expect. I expect that raglans and drop shoulders would be fine. I think round yokes are likely to be less easy. But the only way to really know is to do the maths!

Adding length

It would be easy to add length to the torso by adding some extra rows, although it may take some care to make sure you get whole repeats of any pattern(s).

Arms are likely to be tapered from the shoulder to the wrist. You should probably keep the same number of decreases, so you should add rows between decreases, to make the tapering appropriate for an adult.

Worked example

By comparing patterns for the same raglan pullover sized for adults:

https://www.purlsoho.com/create/2014/02/16/lauras-loop-the-purl-soho-friendly-fair-isle-sweater/

and children:

https://www.purlsoho.com/create/2015/01/02/friendly-fair-isle-sweater-now-sized-for-toddlers-kids-too/

(Note that I round to the nearest quarter inch and to the nearest 0.5 cm)

The adult size 40 has:

chest circumference of 40'' / 101.5 cm
total length 23'' / 58.5 cm
arm length 18.5'' / 47 cm.

The child size (12 months) has

chest circumference 22.75'' / 58 cm
total length 12'' / 30.5 cm
arm length 6.5'' / 16.5 cm.

If you scale the child size up to match the adults chest circumference, then you would have

gauge 7stitches x  9 rows per 4'' / 10 cm (very chunky!)
total length 21'' / 53cm (2'' / 5.5 cm / 4 rows shorter than adult)
arm length 11.5'' / 29 cm (7'' / 16 cm / 16 rows shorter)

So you can see that you would need to add 16 rows to the arms and 4 to the torso to match the adult size.

In your case, you could compare your scaled-up child's pattern to a different adult's pattern, or to a pullover that you own.


Why have my paper crafts hung on the wall deformed and what can be done to prevent this?

I can think of a couple reasons why your paper curled like that:

Vertically displayed paper has a tendency to curl more in my experience, especially when it has no support.
The gum/glue itself may be causing or aggravating the curling. Some adhesives and coatings draw, or shrink inward, as they dry. (You see this in nail polish, too, when some thicker top coats cause the color to pull away from the tips.)

To counteract the curling, you could try a few things:

Coat both sides of the paper with the gum/glue, or a varnish. The drawing affect would be lessened as it would be trying to curl in both directions at once.
Tape the paper down while working and allow to dry thoroughly, leaving it overnight to 'cure' before removing the tape.
Add a stiffer material as a backing. Thin sheets of metal or wood would be the most stable. But, chipboard or even a heavy cardstock would afford some further support.


What's the easiest way to pin and sew leather binding?

IF your machine is capable, you can't buy the Wonder Clips -which i also recommend, and you haven't stocked up on these items already... Do so! It will all make a difference.. Figure out what clips work best for you.

Leather Needles
Required thread
Double sided leather tape
Large Paper Clips
Clothespins (wooden or plastic - just make sure they are strong)
Research, research, research
ALWAYS Practice on scraps beforehand.

Do your best not to stretch the leather as your sewing it. Also, you can pin in a few spots where you'll be sewing, if you must. Just hand feed very slowly while removing the pins. Apparently the leather tape causes less needle gum up.


Paint or marker for insulated cup decoration

You can fire artwork on porcelain and it will be permanent.  Pretty much any other surface won't be.  Even commercially applied artwork wears off and washes off eventually.
If you know the actual surface material/finish (like by contacting the manufacturer), you can optimize the decoration for adhesion and durability.
You can protect the decoration by building up a thick coating (via many light coatings) of a clear finish of some kind over the decoration.  A protective coating also makes optimizing the decoration material less important.  I'm not familiar with that particular cup but if the protected surface extends to the lip you drink from, the coating should be food-safe.
If the coating starts to wear off or gets scratched or chipped, you could reapply it or touch it up while the decoration is still intact.


How to ferment green indigo powder to make it blue

Try mixing the unfermented indigo powder with water in a bowl, and 'beating' it, using a smaller bowl to scoop it up and pouring it back until the mix turns blue.

Consider adding lye [NaOH] or slaked lime [Ca(OH)2] to help the fermentation process. The effectiveness might depend on how the unfermented powder was produced, though.


Can I soak eggs in something to make them sink into the dye better?

A bit messy, but tested successfully:

Blow out the eggs before dyeing them.

This means you can fill the floating eggs with the liquid dye and they’ll sink. Of course you need to make sure that the dye flows out of the shells again when taking them out.

Speaking from experience, this will work best with eggs that have two holes.

Alternatively you could drill a small hole at the wider end use a syringe with a needle and fill the enlarged air pockets (the reason for the floating observed in old eggs) with a suitable liquid like water.


The second example ("No me llores") looks airbrushed to me. The first... frankly, I think that you could achieve it with nothing more than a wood stain, correcting fluid and a pocket-knife.

You should be aware, however, that both paintjobs are likely to impair the tone of the instrument. The first one, especially, looks like a number of no-skill, homebrew paintjobs that I've seen over the years. They do very little for a guitar as guitar.

The tone of an acoustic guitar depends greatly on how the soundbox vibrates. Applying a ham-fisted paintjob onto the soundboard, especially, will change its sonic characteristics. What is worse, heavy-handed painting will make it nigh impossible to repair the damage, once it is done (you might simply find it impossible to be rid of the paint without having to sand off a whole layer of wood that it has seeped into, which introduces its own set of problems). This is the reason acoustic guitars are given only a thin coat of soft paint.

I would not recommend doing anything like this to anything other than a cheap and already sub-par guitar - unless you have no intention of ever playing it.

Solid-body electric guitars are much more amenable to crazy paintjobs.


Removing glued on material from this subwoofer

I got this picture from the same source as the one included in the question.  It shows more of the internal detail and gives a better look at the covering.  I left it at size large so the detail could more easily be seen.

The tube is definitely made of wood, my guess would be either bent plies or straight barrel staves.  In any event it looks durable.

The covering looks like it is a woven fabric that is skillfully cut and glued to the barrel.  See how it is folded into the opening and reveals some unevenness at the edges where it has been cut to fit the smaller diameter of the inside as compared to the outside of the tube.

My recommendation for removal of the fabric is to use a heat gun that will soften the glue and allow you to peel off the fabric. Easier said than done because the fabric will quite likely tear and require the use of some sort of scraper.

If the glue becomes solid after cooling from the heat treatment you can sand it off.  If it remains tacky, you can use some sort of solvent as @matt suggests.  You definitely want to remove the glue because if not, you will have a rough, irregular surface that will be telegraphed through your shiny black paint - even if it's a thick layer.


What's a good fabric to use for an outdoor canopy?

There are fabrics of different materials and weaves designed specifically for that purpose. They hold up to UV and wind, dry quickly, are resistant to abrading through where they are secured or in contact with supports, and offer different levels of light filtering. They are sold as "outdoor canopy fabric" and "awning and shade fabric". Here are a couple of links to get you started (I'm not personally familiar with these specific products): Amazon Outdoor Canopy Fabric and Sailrite Awning & Shade Fabric.
I would expect that you could use a regular sewing machine to attach trimming to virtually any of these fabrics.  The fabrics are often a bit thick and heavy-duty, but they are still cloth, and many upholstery fabrics are thicker.  An industrial sewing machine isn't needed to perform the sewing for a one-time job.  But it would be used in a factory setting making canopies, mainly because it would have a much longer service life under those operating conditions and workload.


Best archival product for wood panels to oil paint on?

Wood is live material and unless you wrap it in something like hard lack deeply soaked into or acrylic resin, then it will wrap a bit here and there according to grain orientation.
So it depends on what is your tolerance and how big warp is still OK for you.
As you plan to go with oil painting, I would stick to the oils not reinventing wheel.
Lighter the oil, deeper it penetrates, and it also depends on wood in panel and its hardness.
I like natural materials so as base layers and finish I'm using various combinations of linseed oil, Tung oil, turpentine or some thinner oils to lighten suspension so it soak to wood more easily and stays deeper once turpentine vaporize out. Bees wax, is good to more final layers as it let's you polish the wood to glossy surface, but as you are going to paint on it I'd stay away from wax based things in material prep/preservation phase. Tung oil is good for finals as well as it hardens over time. Camelia oil (camellia sinensis) in contrary do not almost dry, so I use it more for tool preservation. Might be useful, but panel might catch more dust over time. Linseed is fine, but in natural form it almost don't dry and so is sticky for weeks, boiled one dries quicker, but still in days and so is used in carpentry, commercial ones usually also contain a good chunk of desiccants to make it dry even faster, but I do not like those much. For interiors I like saflor oil, does not smell, it's light, could be purchased in food grade quality for stuff like wooden kitchenware.
So my favorite would be turpentine (or some lighter oil like grape oil) + linseed (that boiled but natural one) or saflor instead of linseed.


What is the easiest/cheapest way to seal/stamp a brand in craft paper?

Simply put, that is a rubber stamp. That particular one appears to be professionally machine-made given the fine detail in the rendered image e.g. lines in the skull and the typography this would be expected.

That does not mean you are forced to have one made. You can get very good results making your own. Although I doubt you could make the one you pictured without specifically designed machining tools.

There are many options for this as well. A very simple one would be to cut a stamp from a potato. You only need a potato, ink/paint and a knife for the some simple like a star. If you are curious this YouTube video would be a good primer. It even shows using cookie cutters to get more precise shapes.

A realistic option that is more in line with what you show in your question would be to carve your own rubber stamp. Lots of tutorials out there for this one as well. I found this one from dearhandmadelife.com to be well written and full of useful pictures of the process. I will provide a basic outline of the process here.

You need to following tools or variations thereof:

Carving rubber: this is what will become the stamp
Carving edge Tools: Search for rubber carving tools will get you the basic idea. Minimum you are looking for V-groove or U-groove edge tools. These would be better at removing material then your basic craft knife
Pencil and paper: Your initial design will be done in this medium
Mounting block: Optionally a block of wood, or something similar, to mount the carved rubber to. This will make the stamping process easier and give a uniform appearance to the applied stamp.

Use the paper and pencil to draw what you want the stamp to actually look like. No need to draw it mirrored or anything. Just exactly how you want it to appear. Fill in any space that you want to be stamped. White or blank areas will become the negative space of the stamp.

The graphite from the pencil should transfer easily to the carving rubber. After that it is just a matter of carving out the blank areas in your rubber deep enough to prevent ink from adhering to it during the stamping process. You will also need to carve away an area outside the stamp as well for the same reason.

If you wanted to mount it then cut off any excess rubber and glue it to the block. Stamp all the things!

Your choice of ink will depend on your applied medium. Experiment. Standard ink pads should do the trick though. Depending on your product and placement you may need to worry about things like UV and the like.


How to attach copper wire (8 gauge) to wood (Eastern White Pine)?

Copper grounding clamps have a nice industrial look to them and they come in all shapes and sizes, easily handle the 8awg requirement.

Though the copper staples would be a far more economical solution.

The Acme staples company carries copper staples. http://www.acmestaple.com/


That's just how erasing works, for pencils.

Erasers don't really just pick up pencil marks. They work by abrading away a thin layer of the paper, to which the pencil medium (generally graphite) has adhered. The abrasion is a sort of side effect, as the real intent is to disturb the bonds of the graphite to the paper (or cellulose) and allow the erasers to bind instead. Cheaper erasers are less binding, so work more on abrasion.

If the pencil mark is below the ink mark, then removing such a layer of paper will remove a layer with ink on it, as well. The same activity that allows the graphite to bind to the eraser also picks up the ink particles.

The ink fades, but doesn't vanish, because the nature of the ink means it penetrates further into the paper, rather than just the topmost layer.

One solution would be to apply only a basic layer of ink above the pencil, leaving you the opportunity to reapply the ink after erasure. However, if you're not dealing with completely opaque inks then layering this way may affect your end color.

Another solution is to not erase at all, and instead use a light box start out your inked worked on a completely new sheet of paper. (There are also some transferring techniques, where you could convert the pencil sketch to and underlay in ink, but I'm not versed in them enough  to explain, and you could still run into opacity issues with non opaque inks).


Expedite drying acrylic painting in a cold temperature environment

Well, let's give it a try with some other creative options:

Paint in the shed, make sure the kitchen unit is placed on a surface that can be transported, allow to dry inside the house.
Paint partially in the shed, touch the unpainted parts for transport to the house, allow to dry inside the house.
Cover a large area inside the house with huge sheets of plastic and paint inside the house.
Paint in the shed, use the heat of a hair dryer to dry the paint. Be sure not to blow your paint away while it's still wet!
If the kitchen unit is made of metal you may also choose to heat it up before you start painting. Be careful though, as you don't want to ruin the first layer(s) of paint. And you probably have to paint quickly or repeat the heating while painting.

The romantic solution:
6. Put candles in the shed for a local and temporal raise of the temperature.

And if all else fails:
 7. Wait patiently for the paint to dry. (Like your option 3, but now the waiting is after the painting instead of before the painting and it will reduce your waiting time.)
Good luck!


How to paint the background of a portrait painting?

The paint does make a difference in whether or not you can easily paint over the background.

Watercolor, for example, does not easily cover other art and you would need to use a different technique for the background if you used this medium. Most other paints (like acrylics or oil) are thick enough that you can easily paint over the background without any effort.

Thicker paints

With thicker paints you should paint the background of the image, get it as you like it, and then paint your subject over the top.

This has the down-side of not being very forgiving should you make mistakes to your main subject, fixing the background after touch-ups will be challenging.

Thinner mediums

With thinner mediums like Watercolor you would want to paint them independent of each other and not overlap them. I, personally, would paint the subject first and then follow with a watercolor background.

With watercolor you can use a common technique where you apply water to the paper before using any color. Carefully outline the dry subject with a wet brush and once the paper is wet, carefully apply your color.

The water will pull the color out of the brush and disperse it to the wet areas neatly without spillage. If you make a mistake with the wet brush, simply let it dry and try again before applying color.


There are a lot of artists online who use Copic markers or a mix of Copic, other brands and even other media like pencils to create texture or white ink for highlights. Often a lot of cool images you see online are actually a mix media of markers and other materials.

Lets start at the beginning though... You mentioned markers you used to use had uneven coloring. Most basic markers or kids markers will do this. Markers like Copic, ProMarkers etc are alcohol based, they don't dry as quickly on the page, allowing you to create a nice block of color or to blend two colors together.

You need to be careful when coloring though, your color edge can dry and then you'll be left with a visible seam in your color block. Always follow the wet edge of color adding to it each time before it dries, and even go back over your colors so you get a solid block of ink down if that's what you're looking for, as the first pass might be a bit uneven depending on your paper type.
This video will help explain what I mean if you're like me and like to learn visually: https://www.youtube.com/watch?v=PZpBpAdQliU.  That YouTube channel actually has a good amount of information on Copics that may help you get started.

So, a great way to start is to practice blending colours together if that's your style. I suggest diving in and using the markers to get a feel for them, I used promarkers for a long time and it took be a little while to get used to them at the beginning because they were very different from what I was used to (Faber Castell / Crayola etc).

Paper is always an important factor to me. Specifically designed marker paper (Daler&Rowney, Letraset, Copic etc all make it) helps maintain control over the ink flow. For me anyway, drawing on regular paper or cardstock meant going too close to the edge of my ink outline risked it leaking beyond - Marker paper was amazing for this and reduced bleed a huge amount for me. It may all depend on your style and what kind of pieces you want to make. Don't just stick with one paper type, try a few and experiment, you'll probably find you prefer different papers for different styles and quickly choose a favorite.

Aside from blending another great way to use these types of markers is by layering in blocks. Rather than constantly trying to blend seams together, you can make great pieces by being hard and direct with your strokes, or make pieces that feel dynamic and full of motion by being loose and rough. Terrance_Unchained on Instagram is a great example of this. https://www.instagram.com/terrance_unchained/?hl=en. He uses chisel tipped copics a lot of the time to layer down blocks of color. If you follow the link in his profile he does a tutorial on his style. He also uses other inks and pencils etc to highlight and texture areas like I mentioned at the start. One of my favorite techniques of his that gave me an "omg that's genius moment" is when he's finishing up a picture, he'll go over the whole thing with the one color to tie all the tones together - I've yet to try this myself but it looks really cool.

Hope this all this helps! Good luck with your Marker adventure!
Clare


Yarn weight is basically the thickness of a given yarn. There are several ways to refer to yarn weight, but the category, the number of plies, the number of wraps per inch and the gauge range (for both knitting and crocheting) are the most commonly used. The weight of your yarn will affect the size of your finished product, and the size of the needles or hook you will have the most ease to work with. You will always it on your skein package.

There are 8 categories of yarn as defined by the Craft Yarn Council: Lace, Super Fine, Fine, Light, Medium, Bulky, Super Bulky and Jumbo. Each category refers to a specific range of the measurements methods. Some categories will sometimes be substituted for a type of yarn, like Worsted for Medium or DK (Double Knitting) for Light.

The number of plies is nowadays probably the least consistent way to talk about yarn weight. Back in the day when knitting was done with actual sheep wool, yarn was measured by the number of single wool yarns in the finished yarn, but with synthetic yarn, it's more difficult to be consistent. For example, a 5 ply yarn in Australia will be called a 6 ply yarn in Germany, but not be standardized in the UK. Yarns below 5 ply are generally pretty consistent though.

Wraps per inch (wpi) is the the number of times you can fit a yarn within an inch. The thicker the yarn is, the lower its wpi will be.

The gauge range is the number of stitches you can make in a 4 inch or 10 centimeter swatch. This measurement is always double, once for knitting and once for crocheting.

Here is a table I made:


Are there any downsides to using black water-soluble pencils as regular pencils?

For the biggest part the answer to the related question is still valid. Water soluble graphite pencils are intended to be used both as pencils and as paint, and they will hold up just as well.
The appearance on paper between the two types of pencils is similar.
The only downside I can think of is that accidental smears might be harder or impossible to erase - when water is used in combination with water soluble graphite, the graphite cannot be erased anymore. Wiping a finger, wrist, or hand, especially when it's a little sweaty, can ruin a drawing more severely than when you're working with regular pencils.


How do I replicate this misty spray paint texture/pattern?

If the material is metal, one can use a wrinkle finish powdercoat to accomplish this result. It's not quite exactly the same texture, but wrinkle finish powdercoat may qualify in that it's random and irregular.

Using search terms "texture powder coat" provides a number of similar finishes, including hammertone and silver vein, the latter shown below:

If there is a powder coating service in your area, they can advise of the available finishes. You can also purchase a home powder coating system which can be used with an inexpensive (yard sale) toaster oven for small parts.


How can I affix keyboard keys to a suit jacket?

The simplest approach is a hot needle.

Hold a rather thick needle with pincers (pretty much any kind) and heat it up - stove fire will take seconds to make it glowing hot, but a candle flame should suffice. Melt the hole through both sides of the stubs. The needle should be considerably thicker than the one you'll use for sewing because the holes close up a bit when you remove the needle.


We don't really allow for product recommendations, but you can make your own grid overlays:

Buy a sheet of flexible plastic, and use a permanent marker and ruler to create a grid with your preferred scale, and simply put it up against your monitor.
Usually it can rest against the borders of the screen, but a little tape will definitely hold it in place.

In an image editor like Photoshop or the free open-source Gimp you can:

add guidelines;
(add a transparent layer and) add lines on top of the reference image (and save that layer to use it whenever you need it);
make use of the feature to show grids (the size can be adjusted);
find premade grids on transparent background images online.


'Dry' and 'wet' refer to the flow of the ink.

Regarding inks, the terms 'dry' and 'wet' give a relative idea of the viscosity of the ink: wet inks flow more freely, whereas dry inks have more friction. The difference, usually caused by the amount of lubricant (depending on the amount and quality of the dye used), can be very subtle, and hard to spot, but you can feel it quite easily in your fingers, as wet inks give a smoother glide to your pen.
Wet inks, as the name implies, will stay wet for longer, whereas dry inks dry much quicker. Among other differences, dry inks allow for an improved application of details, as it is cleaner and finer. Wet inks will feather more. And if you happen to be a left-handed person, it will also facilitate sinistrodextral (left-to-right) writing, or vice versa, as the ink will likely smudge less.

Calling a pen 'wet' or 'dry' gives a relative idea of the transfer of ink. The nib is the crucial element here: wet pens will allow for the ink to flow copiously through their nibs, whereas dry pens have nibs that deposit ink less freely.

Obviously, this binary attribution - dry/wet - of what is essentially a range of fluidity is not particularly accurate.
It is now probably clearer why it is not recommended to use dry ink in a dry pen: both traits will counter each other, or, indeed, "the rate of ink-flow is likely to be too low".


Which tool to use as watercolor paper press

The answer is to pre-stretch the paper before painting, and leave it stretched until dry.

To pre-stretch, wet the paper evenly, then tack down the corners to a drawing board with some slight tension.

Using water activated tape (paper tape) tape the edges of the paper to the board with 1/4" to 3/8"s overlap on the paper smoothing out the tension as you go. You may need to reposition the pins as the paper flattens to the board. Regular art tape or masking tape will not work since the water undoes the adhesive.

Once it is taped down let it all dry, and be sure to let the work dry after its done before removing it from the board. It should remain flat.

The only problem I have found with this is getting the paper tape off the edges of the water color paper. Sometimes it snaps off nicely, more often it remains behind so I just cut it off the board at the papers edge. If someone has a solution for this that gets the tape off and leaves a nice clean edge I would love to hear it.


What is the term for an art show featuring two artists?

A "group exposition" or "collective exhibition" could be used to describe a two person art show ... BUT (after searching the internuts a bit) it seems that "Duo Exhibition" is the most common term for a two artist show. Group Exposition or Collective Exhibition applies to shows which have three artists or more.

Examples:

In the exhibition guidelines for the MacDonald Island Community Art Gallery Exhibition they list three categories of exhibitions which depends on the number of artists showing: Solo, Duo and Collective
SEÇİL BÜYÜKKAN gallery discussing the Seçil Büyükkan and Deniz Aktaş "Hande Şarman" show  refers to the event as a "Duo Exhbibition".
The CV for visual artist Yooree Yang gives a listing of Solo Exhibition & "Duo Exhibitions" the artist has participated in the past


How to repair bend in pewter goblet stem

It is very likely it can just be straightened with no additional treatment. Tin strain hardens ( cold works) very slowly compared to most metals and will stress relieve at room temperature.  According to old references "pewter" ( a k a - Britannia metal ) is not pure tin but contains 7% antimony and 2% copper. But because this is apparently a newer product, one is not sure what the composition is ( I have seen zinc and aluminum novelties called "pewter"). I suggest straightening it, if it cracks it is unlikely to be tin/pewter.


Your hat has a very open structure, so, to fix a hole invisibly is hard/impossible, as you need to weave in material where it's missing, but then you got a double amount of material at the edge of the hole.
However, since you 'just' want to make it look nice, you could

reweave the hat (with either straw, wool, or any other material of thead) about as thick as the original material. It's obviously a lot of work and you loose the open structure. But you don't have to reweave the complete hat, you could skip the rim, or any other parts without holes.
Stitch/embroider a ribbon along the edge of the crown, using whip stitch (If you don't know this stitch, see https://nl.ifixit.com/Guide/How+to+Sew+a+Whip+Stitch/21025) Make the stitches large, and be sure to cover the hole with the ribbon.
Stick a flower in the hole, and attach it in a creative way. :-)


Are there any cheap tools available for printing custom vinyl stickers?

I don't know your definition of cheap, but the Silhouette Cameo vinyl cutter allows you to replace the cutting blade with a colored marker so that instead of cutting the vinyl, you end up drawing on it with computer precision.

Alternatively, you can feed the vinyl sheets which are made for that cutter through an inkjet to get some image on it and then after it dries, coat it in a light layer of clear coat spray paint to keep it from smearing.


Curing non-UV epoxy resin with a UV light?

Short answer: UV light won't affect the cure of non-UV resin.  Strong UV may even discolor or degrade some types of non-UV resin.
Longer Answer
UV-curing resin works on a different mechanism.  A one-part resin is stable until UV of a particular wavelength breaks down a component in the resin and causes it to cure.  Any portion of the resin that doesn't receive a sufficient amount of that UV remains uncured.  You need intense exposure to that wavelength, and it doesn't penetrate the resin well (so for thick castings, you need either extremely long exposure or building up and curing in thin layers).
Non-UV resin combines chemicals in separate resin and hardener to trigger a chemical reaction.  Once the reaction has started, heat will accelerate it.
Some epoxy systems use a small amount of catalyst as the hardener to trigger the reaction.  A catalyst doesn't react chemically.  It's mere presence triggers the reaction.  So you don't need much catalyst, and the exact proportion isn't too critical.
Other epoxy systems, like what you used, cure by reacting the resin and hardener with each other.  They're generally designed to require equal amounts, or some other fixed ratio.
Non-UV resins generally harden in a matter of minutes to hours, although total curing for full strength may take up to days.  If you mixed the epoxy and it's still sticky or soft after many hours, or say the next day, it will never cure.  You may be able to harden or clean the surface, but there's no way to affect the resin on the inside.
Failure of two-part epoxy to properly harden is almost always caused by one of three problems:

Inaccurate ratio.  Both the resin and hardener are syrupy, and that consistency changes only through reacting the two parts.  If the ratio is inaccurate, the result will contain unreacted syrup of either the resin or hardener.  That will be mixed throughout and will never harden.
Note that some epoxies are designed to be measured by volume and some by weight.  Verify that you're basing your ratio on the correct type of measurement for the product you're using.

Inadequate mixing.  Even if you start with an accurate ratio, if you don't thoroughly mix the two parts, you're left with a similar situation.  There will be unreacted syrup of both the resin and hardener throughout the result.  They will be isolated by the portion that does cure, and there's no way to get them to mix and react.

Old or deteriorated product.  Most epoxy systems have a long shelf life.  However, the components can eventually degrade through age or exposure to extreme temperatures.  If you discover decade-old product that's been lost in your garage and decide to put it to use, it would be worth testing a small amount first to verify that it will properly cure.

There's also a fourth potential cause of curing problems that's not really the fault of the epoxy.  People often experiment with mixing in various other things as colorants or appearance modifiers, thinners, or to change the physical properties of the cured resin.  Some kinds of additives are incompatible with the epoxy or can interfere with the curing, especially if they're more than a small percentage of the mix.
Where to go from here
Stick your castings in a hot but not super-hot place for a day (not so hot that you can't comfortably touch it or that would damage the molds).  Whatever is going to harden will harden.  Then if they're still sticky, trash them and try again.  If you're using re-usable molds, you may be able to clean them out, but don't reuse them if you can't get them thoroughly clean.  Any unreacted resin or hardener left in the mold will create the same problem when you pour in properly mixed epoxy.


What are some good tools to use for carving plaster?

Stone carving tools might be good to try, such as rifflers, files rasps. Made for stone they would easily survive being used on plaster.

Image below is from http://www.fine-tools.com/liogier-riffler-rasps.html


What you want to do is to make paper clay. Basically, you shred toilet paper (cheaper the better) in warm water and use a paint mixer on your drill to make it into pulp. Then add the slip and beat again. Let sump for 24 hours, then place piles of it on slabs to dry. Wedge as usual, and get to work.

This material will change the way you work with clay. It can be solid, because the airpockets that would otherwise explode are used up in the combustion of the fibers. Mounting bone-dry to wet pieces is now possible. Casting works too.


Is there a name for this style and/or "subject matter" of art?

I agree, "Clip Art" or "Graphic Arts" would seem an appropriate answer.
Also, they might be described as "icons" or "avatars" in another usage. Again, the answer to this question is perhaps largely a factor of where the clips are used, what they are being used for and how they are included.
There is a lovely "quirky" humorous flavour to them. They could be used in a "satirical" way, or perhaps just as a "quirky" or even "geeky" personal avatar by different people. I actually like them.


You can use food grade silicon for casting as well as for making molds. What you need to look for is chocolate casting silicon. They are pretty expensive and there are plenty of manufacturers, but you need to follow the directions very carefully.

In Europe I have had good experience with a product called schokomold

If you do cast silicon in a silicon mold, you can use a cooking spray as a release.

A word of caution though, the silicon is robust but it will break down over time through stretching and (chewing). You can make it more robust by adding more of the binding component, however your working time will also be reduced. Experimentation is called for.


What is the difference between serger, coverstitch, and overlock machines?

I dug around a bit and found this:

From Knits 102:

  The cover stitch is the double (or triple) stitch used for hemming knits or topstitching seams that need stretch.

The result is - double stitch on one side and the chain stitch on the back side which allows for the stretching of the seam.

Serger stitch - wraps around the edge of the fabric and is invisible on the top side of the fabric.

It seems from what I'm reading to be synonymous with an overlock stitch - From OneLittleMinute Blog:

  OVERLOCK STITCH: This is the basic serger stitch. It can be sewn with 2-5 threads, but the most basic uses either 3 or 4. It is called an overlock stitch because the threads are cast over the raw edge of the fabric, locking it into a finish that won’t unravel or fray. When using a serger for basic overlocking, you can sew even when there is not fabric under the needles. This is called “chaining”. It makes it really easy, because you can put your foot on the pedal and start serging, feed the fabric through to create your seam, and then chain right off the end.

Fashion Incubator suggests that a coverstitch machine does less than a serger.

I haven't gotten into buying a serger yet, but my quick poking suggests that a serger can be a somewhat generic name - and it's worth it to learn exactly what stitches - overlock, cover stitch, and flatlock - it does.  As ever, also, be sure to learn how it works for hems and blindhems.


Recipe for Gesso used in gold leaf gilding

Most of the recipes I've seen online are for acrylic gesso to prime canvases before painting. I'm not sure they would work the same for your purposes.

However, I did locate one recipe specifically for gilding from an SCA member's website:

  1 part sugar water (the sticky part that allows the gold to adhere)
  4 parts liquitex acrylic gesso (adds the bulk to your gesso)
  5 parts liquitex gloss varnish medium (keeps the gesso together,    hardening with a smooth finish)
  Color to suit (red for work with gold and blue for silver)

It goes on to give instructions for the gilding process as well, including how to use the gesso:

  Lay the Gesso – Start your area of gesso in the middle of your design
  and pull it outwards towards the edges*.  It is ideal to let this
  gesso dry for 6-8 hours. DO NOT to get air bubbles in your gesso when
  you stir. Gently fold your gesso to remix it.  If you do have air
  bubbles in your laid gesso there will be pits in the surface after it
  dries.  To remove the bubbles from gesso that you’ve just laid take a
  pin and gently pop them before it begins to dry.  It has been my
  experience that the key to beautiful raised gilding is an even surface
  tension to the "bubble" of gesso that you lay down.  To create an even
  surface tension to your gesso you should first drop a large puddle of
  the gesso into the space you will be gilding, then using your brush
  pull the edges of the puddle outwards to the fill your designed space.
  This gesso is not designed for flat gilding and your design should be
  filled in with puddles of the gesso that create small domes on your
  page.

(source: The Scribal Art of Elizabth de Nevell)


How do I make pom poms not fall apart as easily?

If you want to make the pom-pom not fall apart as easily you have to pull the string tighter when making a knot. Some tips to consider:

loop the string about 3 times before making the final knot
use your finger to hold the string in place when making the knot
try using a different (not yarn) string for the knot – a thin and strong one (so that it doesn’t break when pulled tight)
if you are using the same yarn to tie the knot as the one the pom-pom is made of, and you are using natural yarn, then try soaking the knotting string (just that string) in warm/hot water and make the knot while it is still wet (it should shrink when it dries, giving you a tighter knot)

I guess the reason why pom-pom manufacturers don’t do anything about it being  easy to pull separate strings from a pom-pom is because pom-poms are not meant to have their strings pulled out one by one, and they turn out to be just fine if you don’t do that.

If you feel like you need to use glue anyway, try it, and share your results.


What glue should I use with acrylic and transparencies?

There are specific glues manufactured for gluing clear and colored acrylic. It is thinner than water and will spread via capillary action when used appropriately. Consider when locating and purchasing such an adhesive to also purchase the needle-tipped dispensers often offered during the transaction.

image courtesy of linked Amazon source.
Ensure that your parts are solidly joined and carefully tip the applicator while the end of the applicator is in contact with the joint. You'll be able to see the glue spread throughout the length of the joined pieces.
Due to the very fast curing time, any excessive quantity that spreads to a surface will damage the surface if removal is attempted. Consider to practice on scrap or test joints to get a feel for the process.
If you intend to layer the acrylic, the same process applies, as the glue will wick into the entire surface contact points/area.
Drying time can often be measured in single-digit seconds.


Can air-drying clay projects be preserved?

If you're using Play-Doh specifically, Hasbro's FAQ tells you this:

  Play-Doh compound is designed to use over and over again. If allowed to harden (to preserve a creation) it will most likely crack.

  Look for oven curable clay at your local craft stores to make long lasting creations.

Which isn't helpful, since it essentially says "you can't".

However, you can attempt to bake and seal it. Drawing some information from this guide, we can get started.

Start by preheating your oven to 200°F or 90°C. Make sure your Play-Doh sculpture is stable, and place it on a sheet of aluminum foil on top of a cookie sheet or something comparable.
Bake the sculpture for 10–15 minutes. If you have thicker parts on the sculpture, you'll have to bake for longer.
I recommend making some test sculpture, like simple tubes, of different thicknesses. By baking these, you can test out how long it takes in your particular oven. You can test if the bake was long enough by breaking the test tube in half and making sure the moisture is gone from the center.
After it's baked, you'll need to apply a varnish to seal the sculpture. You'll want a product that's water proof, and most will do that. Avoid spray varnishes, because the propellant chemicals may affect the sculpture over time. There are varnishes specifically for sculptures, but some people have had success with sculpture by using clear wood finishes.

When you apply the varnish, make sure you get every spot. Use a fine brush to get into crevices. After the first coat dries, go back over to get the bottom of the sculpture and wherever you held it.

And that should do it. Of course, I would test it with a lump, first, to make sure the varnish you're using doesn't result in a sticky texture or soften the Play-Doh as you apply it.


Technical advice to improve working with oil pastels

The problem is not in your drawing - it's in the pastels. There are some media in which the quality of the materials you use make a huge difference, and oil pastels is one of them. (I also didn't like the childish way my pastel drawings looked, but getting a set of Faber Castel oil pastels changed it all.) So if you are into oil pastels, I'd suggest you get a set of good quality ones. They are expensive, but they are worth it.

Also, you could use cartridge paper instead of writing/printing paper. It is the general purpose paper for artwork - it is thicker than writing/printing paper and it is not expensive.


The absorbancy of paper is dependent on its weight.
For painting purposes, I suggest to use paper with a minimum weight of around 300 gsm (or g/m2) and up.

The ratio of water to gesso is more a personal preference, since you will want to tape the paper to a flat surface.
The proportion of water determines the coverage and texture. Since you want to use oil paints, this ground should not be too thin (usually, I don't thin the gesso down at all, but this is naturally dependent on the brand and type), but you can apply the gesso in multiple thinner layers, or one thicker one, if, for example, you would like to imitate a canvas-like structure (applying the gesso in a thick vertical and horizontal layer).

As a rule of thumb, apply as much gesso as is needed to keep the paper from shining through: it's a ground layer, the oil paint should not be able to come into contact with the paper directly, as this will eventually cause problems of both aesthetic and conservatory nature (as the oil will be absorbed by the paper)!


Milling an additional slot in an arbor press table plate?

My experience with cast iron in the process of milling and lathe turning (minimal, but valid reference) is that cast iron will cut nicely with ordinary HSS tools. The swarf will be granular, not long streams of ribbon and the surface will be moderately smooth, depending on your feed and speed.

A few references on the 'net suggest that it is "self-cooling" due to graphite in the iron. Another few references also suggest that use of coolant will create abrasive mud which will dull the tools.

You won't be destroying your tools.


How can I protect the mixed-media surface of my table?

-Note-: I started this answer before there was mention of potential of varnish on the table. This answer would hold outside of that.

While you can usually epoxy over almost anything if you already have a varnished surface you might not need to bother. "Varnish" a little vague so it would be hard to be exactly sure. I would like to think the artist is aware of this so it should not be an issue.

I think one of the better choices here would be epoxy resin. You could also call it a bar-top finish. They are essentially the same thing. I had some initial hesitation in offering this suggestion until I saw multiple artists used epoxy resin to give a glass finish to their own acrylic paintings. (One such example)

They are meant for strength and longevity. However they are more susceptible to sunlight and UV rays then other finishes. You see this in other crafts as well like penny tables. Epoxy resin is usually food safe once fully cured check your individual product information to be sure. .

If you have never done this before this should not be your first large project with epoxy resin

You need to work in an area that would be relatively free of dust and debris. Epoxies come as two liquids that need to be mixed together: a resin and a hardener. Most require a mix of 1:1.  Hard to say exactly how much you would need to cover your entire surface.

If you can remove the legs off your table I would do that and then use some small blocks or other objects to prop the table off the ground. Epoxy resin is self leveling so it is imperative that you ensure your table is level before application. Use a level or series of level to help ensure that. At the same time you need to put down something under the table so that the resin has something to drip onto. This is supposed to happen to ensure an even finish.

Mix/stir your epoxy resin and pour over the table. You can use a brush to help the resin get around the whole surface. You are not "painting" the surface but helping the resin get complete coverage. Again, it will drip over the edges and that is fine as it helps coat the edges. You have a few minutes so if you need to add more resin to your surface you have a small window to add more without harming it.

Bubbles are bound to happen so have a blow torch or heat gun handy to help pop them before the resin starts to cure. I even heard breathing (not blowing) on them helps them pop. This can especially be an issue for a mixed media table as there will be plenty of places for air to hide. Make sure that whatever you are using that you don't want near surface contact and stay in motion. You don't want to burn it or cause wrinkles if the epoxy is starting to cure.

You can sometimes thin your epoxy to give it a longer curing time which both allows it to seep better and gives you more time. Note this can affect its overall strength.

Once you have your surface coated and bubbles removed then you typically would leave it to cure over a couple of days to be sure. If you have the means to tent the table this will help keep dust off. Be sure whatever you do that there is no risk of the blankets or what not falling onto the table.

Epoxy resins can be a complex subject if you want them to be. There is a lot of scenarios that would be too hard to cover hear. Do you research and always pay attention to product labels. So, if you are curious about this I would recommend reading up on it more. If you wanted to explore this in more detail I would recommend asking specific questions about your particular quandary.

Art-Resin has some starting videos on the subject.


"Set-in" vs "Flat" sleeve sewing -- is there really a difference?

To be absolutely honest, the difference is marginal in most (but not all) cases.
You probably won't even notice any difference in:

short sleeves
wide or baggy garments (like a tunic or pirate blouse)
garments where the shoulder seam extends far down the shoulder (like a kimono or most casual menswear)
garments sewn from stretchy fabric

Puffy sleeves that are gathered at the top of the shoulder should always be set-in sleeves because that allows you to place the gathers where they need to be. In theory you could gather the (open) sleeve first and still use the flat method, but I honestly find it easier to use the set-in method in this case.
In tight fitting garments that don't stretch (like formal business shirts or coats) a flat-sewn sleeve might be too tight to accommodate the shoulder. The shoulder seam usually sits on top of the shoulder and the sleeve points slightly down at an angle. But the human body doesn't have angles like that, there is still the round of the shoulder that has to fit in there:

The picture is a tiny bit exaggerated to make the difference visible. (Original image source)
The blue line represents the flat-sewn sleeve. The fabric forms a straight tube without any ease, but the round top of the shoulder somehow has to fit in there. Bulky people will notice the difference more than skinny ones.
The green line represents the set-in sleeve. It was cut wider than the armscye on purpose, then was slightly gathered on top to shorten the seamline to the same length as the armscye, before it was set in. Since the sleeve cap is a curve, some parts of it are cut on the bias and can compensate the gathering without puckering. The result is not a straight tube, but one that has a bulge at the top to accommodate the shoulder.
Here are some tutorials for set-in sleeves that clearly show the too-wide sleeve being gathered into the armscye:

Tutorial: Setting In Sleeves
Set in Sleeve : Perfect way to attach sleeves


Will sewing onto neoprene compromise its water resistance?

If you're starting with waterproof neoprene (which may be closed cell or coated on one side), thread holes will breach this and it will leak.  It would be unlikely to let light rain in but putting it down in a puddle would allow it to leak.

I have a neoprene laptop case, and it's not the waterproof type of neoprene, but if any water (rain, or from wet things in the same bag) gets in it's around the stitching.  You're also likely to have to look hard and pay more to get a waterproof case, whether or not it's neoprene.

You should be able to seal up the holes though, with neoprene repair glue (wetsuit glue, "neoprene queen" is the brand I use).  This may be worth it even on a non-waterproof neoprene case. This is discussed in a question (mine) on outdoors.se How can I adjust a neoprene wrist/neck seal on a drysuit, by cutting and joining?.  My own answer after trying it has some ideas, including blind stitching.


These numbers tell you the size of the yarn and how many plies it has. It's called the "count system".

The first number is the size - the larger the number, the finer the yarn. (The physical sizes can vary for different fiber types, but they always follow that rule.)

The second number is the ply, how many singles make up the yarn.

So both of your examples are six-ply yarns, but the 50/6 yarn will be finer than the 34/6.

If you spin yarn, these numbers will tell you how much fiber you need to make a certain length. Fibers have a count associated with them (also different for each fiber type - for instance, cotton is 840 but linen is 300). That number is how long a single ply of yarn would be, spun at size 1, if you used 1 lb of fiber. So 1 lb of a 1/1 cotton would be 840 yds long. However, if you wanted to make 10/2 cotton, you would multiply by the fraction: (10 / 2) * 840 or 4200 yds of yarn, from the same weight. This value (yards per pound) is called the "grist", and is directly correlated with the count system number.

Reference


How should I go about designing clothing for a teddy bear?

For a simple night dress, you can make a tube out of fabric which is just wide enough to go around the body of the bear, from just under the front legs down to as long as you like it.
Attach straps to go over the shoulders.
I would go for separate straps on the front and back, tied on the shoulder, for simplicity. If you want to make a once on never off you can also sew the straps in place.

Less simple but still rather basic is a T-shirt shaped item.
You will need flexible fabric, as the bear will not be able to move much to help you and it likely has a rather big head.
I would not close the shoulders. For a once on and leave, you can hand sew the shoulders by hand or finish off the shoulders and neck like baby clothing and use snaps to close (and re-open) it.

To make the patterns, take the measurements, cut the pieces out of paper and try them on the bear. That way you can adjust before even starting to cut the fabrics.

A simple jacket is made like that, tube for body and smaller tubes for arms, and 'cut' the front of the tube.
It might be possible to get it on by moving the arms or even bending them (if just stuffed and not moving) but if that is not impossible you can sew (by hand) it in place.

There are patterns for dolls and stuffed animals clothing online, you could use some of that for inspiration and adjust the pattern parts to the measurements of your bear.

Run an internet search on these words and several collections pop-up:
-patterns for teddy bear clothes free-

Edit:
It looks like your bear has very flexible arms, the kind you can push through sleeves in T-shirt shaped clothing, and a relatively small head (compared to other teddies) so a regular T-shirt with a wide neck will already be possible.

To measure I would take a tape measure (or a bit of string which you put to the ruler later) just under its arms as well as just above its legs where the tummy seems to be on its biggest.
Unlike T-shirts for humans, for your little fellow you want the sleeves a bit forward, measure the difference between the distance over the back and the front, I guess it may be as much as 2/3 against 1/3.
For the size of the sleeves, measure on the lower end, where they are wider.
If the fabric is flexible, you can make the sleeves a bit narrower further up, but stiff fabrics will not let the paws through if the tube is narrow.

These same measurements will hold for your jacket. With a fellow as flexible as this, you can use almost any fabric, as long as you are happy to sew it. Just remember to make the sleeves wide enough for the paws.


What is the right method to practice origami? Is rote-memorization correct method?

It's because you are still at a stage of learning where you are simply memorizing a series of steps, without really understanding the more nuanced principles of and techniques of origami and how these forms are constructed.

In neuroscience, it's called 'chunking', and it's a crucial part of becoming proficient at any skill, and it only comes with repetition, study, and practice. With more nuanced learning, instead of memorizing the simple mechanics ("fold this, then this half way, flip over and tuck back"), you'll start thinking in the patterns and techniques that combine a relatively simple variety of folds to make increasingly intricate designs.

Think of it like cooking. You can follow (or memorize) a recipe and cook a chicken dish that you can prepare over and over without any real understanding or context. But once you learn the more intricate principles and science behind cooking, you start to understand why things are done that way — so now you are no longer blindly following a series of steps, but following the patterns and techniques you learned to achieve the desired result. Now when it comes time to "memorize" yet another recipe (or come up with a creation of your own), you'll already know about 90% of it before you even begin. That is how you build a repertoire of dozens, sometimes hundreds, of "recipes" without having to memorize each step of each individual creation without context.

The same goes for the techniques of origami.